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Click here to subscribePaar gr. Leuchter, wohl Murano um 1990.Farbloses u. buntes Glas, teils m. Pulver-, Splitter- o. Faden-Einschmelzung. Jew. hoher Schaft m. kugeligem Aufsatz m. hoher Vasen- Tülle, unten auf gr. mattiertem Scheibenfuß. Dieser geritzt sign. "Nemtz"(?). Rote Tüllenlippe repariert. H 38,8 bzw. 39,5 cmBöhmen, bunt, farbig, Ettore Sottsass, Frankreich, Italien, Memphis, Signatur
Ettore SOTTSASS (1917-2007)Sans titre (ES 01) circa 1990 poinçon de l'éditeur bague en argent (800°/00) rhodié avec son écrin d'origine et son fascicule stamp of the makersilver (800°/00) rhodium plated ring with its original case and its leafletTour de doigt : 52Ring size : L ½Poids : 40.19 g.Weight : 40.19 gramsRéalisée en 1990, cette œuvre est issue de la collection de bijoux Magic d'Arnolfo di Cambio.Footnotes:ProvenanceCollection particulière, FranceThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
ETTORE SOTTSASS (1917-2007)Esercizi seriesVaseVerre et marbre. Edition limitée à 7 exemplaires.VaasGlas en marmer. Beperkte editie van 7 exemplaren.VaseGlass and marble. Limited edition of 7 pieces.1998.Ed. Cenedese.H: 75,5cm D: 28cmFootnotes:Bibliographie/Bibliografie:M. Barovier, B. Bischoberger & M. Carboni, 'Sottsass Glass Works', Ed. Vitrum, Dublin, 1998, p. 140-141.This lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com
Eine Welt aus Sprache - - Sottsass, Ettore. menhir ziggurat stupas hydrants & gas pumps. Original-Siebdruckplakat der Galleria Sperone, Mailand, 19.4.1967. 55 x 42 cm.Seltenes Plakat. - Der italienische Künstler, Designer und Architekt Ettore Sottsass jr. (1917-2007) "showed twenty-one totemic industrial ceramic works in the exhibition "Menhir, Ziggurat, Stupas, Hydrants & Gas Pumps" in Milan in 1967. He based their forms on the most ancient and fundamental markers of human intention: menhirs and cairns such as those at Stonehenge, Indian stupas and linga, and ziggurats, which express the desire to ascend toward the heavens. However, fire hydrants and gas pumps were also a source of inspiration. Technically complicated to manufacture, the cylinders maintain a relationship to the power of mass production and consumption. Sottsass conceived his first totem while recovering from nephritis in 1962, when he sketched one from the cocktail of medicines that saved his life. Each of the five totems in the exhibition represents contemporary social, political, or spiritual concerns." (www.metmuseum.org). - Mehrfach gefalzt. - Leichter Abklatsch, sonst sehr gut.
§ Ettore Sottsass (Italian 1917-2007) for Stilnovo 'Don' Table Light, designed 1977 lacquered metal with orientable metal shade, with Stilnovo label to the base Dimensions:44cm high (17 3/8in high)Provenance:ProvenanceThemes & Variations, London.Note: LiteratureCastiglioni, Baldacci, Bondo, Lux Italia 1930-1990 l'architettura della luce, 1991m p. 76;Diné, Rousseaud, et al., 'The Complete Designers' Lights (1950-1990), 2012, p. 316.
Ettore Sottsass, Jr.'Le Strutture Tremano' table, from the 'bau. haus art collection', designed 1979Enamelled metal, glass, plastic laminated-wood.115.5 x 61 x 61 cm Manufactured by Studio Alchymia, Milan, Italy. Underside of base with manufacturer's label printed STUDIO/ALCHYMIA/MILANO.Footnotes:ProvenanceThe Estate of Evelyn FosterThence by descentBonhams, Los Angeles, 'Modern Design | Art', 30 September 2020, lot 240Acquired from the above by the present ownerLiteratureRenato Barilli, 'Arredo Alchemico', Domus, no. 607, June 1980, p. 35Barbara Radice, Memphis, Milan, 1984, p. 15Andrea Branzi, The Hot House: Italian New Wave Design, Cambridge, 1984, p. 136Gilles de Bure, Ettore Sottsass Jr., Collection Rivages/Styles, dirigée par Gilles de Bure, Paris, 1987, p. 61Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, p. 62Kazuko Sato, Contemporary Italian Design, Berlin, 1988, pp. 17, 20Klaus-Jürgen Sembach, Gabrielle Leuthäuser, Peter Gössel, et al, Twentieth-Century Furniture Design, Cologne, 1991, p. 214Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, pp. 195, 197Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Volume II, Turin, 2003, p. 290Glenn Adamson; Jane Pavitt, eds., Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 40Cindi Strauss, Germano Celant, et al., Italian Radical Design: The Dennis Freedman Collection, exh. cat., Museum of Fine Arts, Houston, New Haven, 2020, p. 121The present model is held in the collection of the Victoria and Albert Museum, London.Nick WrightCo-author of Cut and Shut: The History of Creative Salvage, London, 2012Dishonesty of MaterialsCharles Jencks identified the death of Modern architecture as taking place on July 15, 1972. 'At 3,32 (or thereabouts)' the Pruitt-Igoe projects were demolished. Like so many modernist blocks, their architects had promised good housing for all using an economy of design and modern materials impervious to the elements and fashion. In fact, their design was so compromised they were dynamited less than 20 years after construction. In their seminal postmodern text, Learning From Las Vegas, Robert Venturi and Denise Scott-Brown documented the Vegas strip during the fat Elvis era. Succeeding Gio Ponti as Domus' editor in 1979, Alessandro Mendini wrote of the architect's obligation to accommodate the taste, even the bad taste, of the client. The postmodern citizen would be the determinant of design, the historic city not a gaudy maras to be bulldozed and built anew along rational lines, but accommodated by the architect whose obligation was to add to it in sympathy with its citizen's needs AND desires. (Who doesn't love fat Elvis?) This was the intellectual thrust of postmodernism.It was Alessandro Guerrero's supergroup, Alchymia, through which these ideas were first expressed in three dimensions. Designed in 1979 as a series of prototypes by Mendini, Ettore Sottsass and Andrea Branzi, amongst others, the 'Bauhaus One' collection was conceived along the lines of a fashion show. Pieces were to be exhibited for one season only, sold, another collection produced for the next, 'Bauhaus Two'.The star of that first show was Mendini's 'Proust'. The most significant chair since Gerrit Rietveld's 'Red and Blue Chair', it began as a reproduction monster-piece found in a Milan junk shop. Signalling the return to decoration made superfluous by functionalism, a section of a Paul Signac painting was projected onto the whole and copied by artists Pier Antonio Volpini and Prospero Rasulo, the aim to fuse kitsch and high culture. Sottsass' 'Svincolo' lamp in the same 'Bauhaus One' collection went so far as to employ bare neon tube lighting redolent of the Vegas strip. In fact, a take on the Italian autostrada illumination, the surface decoration on the totem featured Sottsass' now famous 'Bacterium' pattern. If stared at too long, the design causes a hallucinatory effect as the bacteria seemingly squirm before the eyes.People are not purely rational. Indeed, much of our behaviour is predicated on emotion, logic being a means of post-rationalisation - the decorative laminate applied to chipboard. Architects must acknowledge this duality. Yes, we want our built environment to provide accommodation, but it should also speak to our emotions. Design can seduce, shock, delight, even delude in its trickery and Alchymia does just this. Revelling in a dishonesty of materials such as decorative laminate and rattle-can paint, the group alchemised base metal into architectural gold. Lappino Binazzi had been a member of the Italian radical UFO group of the late sixties. The big film studios were in financial difficulties, and seeing their discarded props and advertising, he appropriated the signage in a series of lamps. The 'Paramount' lamp was first produced by Groupo UFO in 1970. The PARAsol began the title, the ceramic MOUNTain beneath completed it. Together with the MGM lamp, the 'Paramount' was reissued by Alchymia in 1979 for the 'Bauhaus One' collection, its new context making explicit the postmodern implications. Is there a more alchemical process than actors playing out a scripted fiction which, when projected onto a flat screen, creates a 3D reality that feels as vivid as any lived experience? Sottsass' 'Structure Tremano' in the present sale is also from 'Bauhaus One' collection and distinguished from later Belux and Kumewa editions by the glitter lacquer. Alessandro Mendini estimated that on average about six of each of the 'Bauhaus One' pieces were produced. Perhaps because of his association with the Memphis group, which built on Alchymia's blueprint, Sottsass' pieces are amongst those items made in greater numbers. Nonetheless, an original Alchymia 'Structure Tremano' is rare. Moreover, like all the Bauhaus One collection, it needs to be understood intellectually - 'read' as Mendini put it - to be fully appreciated.The plinth is made of chipboard – base metal - and covered in shinny white laminate – gold - whilst its scale suggests it is designed to bear great weight. In a historical sense it does. The tubular steel legs reference Marcel Breuer's work at the Bauhaus. Revolutionary in the 1920s, tubular steel chairs like the 'Wassily' had, by the late seventies, become as much a cliché as the corporate lobbies they furnished, and this is the 'function' of the 'Structure Tremano'. It is not the wobbly looking tubular legs which tremble in the shock wave from the Pruitt-Igoe's detonation, but Modernism itself. In the vacant lot was built Memphis Milano, Alessandro Mendini's Groningher Museum and Frank Gehry's Guggenheim.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
ETTORE SOTTSASSCabinet Bureau 'Foresta'2002Bois, verre, miroir et métalEdition Clio Calvi Rudy Volpi limitée à 20 exemplairesH: 166cm.(65 3/8in.); L: 150cm.(59 1/16in.); P: 90cm.(35 7/16in.).A wood, glass, mirror and metal 'Foresta' cabinet-desk by Ettore Sottsass, Clio Calvi Rudy Volpi limited edition of 20, of 2002.Footnotes:Informations:Exposition partielle : la totalité des lots de la vente ne sera pas exposée chez Bonhams Cornette de Saint-Cyr (6 avenue Hoche 75008).Merci de contacter les spécialistes si vous souhaitez savoir où se trouve le lot, organiser un rendez-vous au garde-meuble (extérieur Paris) ou pour toute information concernant le lot.Partial exhibition : all the items of the sale won't be exhibited at Bonhams Cornette de Saint-Cyr (6 avenue Hoche 75008). .Please contact the specialists if you would like to know where is the lot, to organize an appointment at the warehouse (outside Paris) or for any information concerning the lot.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An Italian umbrella stand, c.1955, designed by Ettore Sottsass for Rinnovel, Milan, with a conical turquoise barrel, with an internal division, raised on a brass-finished stand, 38cm wide 21cm deep55cm high Condition ReportSome scratches and wear to the conical barrell and the stand and internal divisions. Chipping and scuffing to the base of the conical barrell.
GIO PONTI (Milan, 1891-1979).Wall lamp "Quadro di luce".Polished brass structure.Handmade, limited and numbered edition, produced by POLLICE ILLUMINAZIONE from original drawings by Gio Ponti and licensed by Eredi Gio Ponti 2013/2017.Issue 2016-004/10.With trademark label, Pollice Illuminazione, Milan.Bulbs not included.Measurements: 20 x 80 x 12,5 cm. Sculptural wall lamp with indirect light, handmade, limited and numbered edition, based on the original drawings by Gio Ponti and licensed by Eredi Gio Ponti 2013/2017. Its design is inspired by minimalist sculptures. Like a container of light, it is defined by the rigour of its primary shapes: square, hexagon and rectangle form a harmonious dialogue of lines that effectively organise the light. This product is manufactured using artisanal, non-industrial processes. Small imperfections and uneven surface ageing are deliberately present, which is a specific feature of the product and testifies to its craftsmanship.Architect, designer and academic, Gio Ponti is, together with Ettore Sottsass, the leader of the most sought-after Italian designers of the 20th century by collectors. In addition to the elegance of his furniture, sensitive to functionality, yet original at the same time, Ponti is renowned for his volcanic creativity, which led him to produce and design until the 1970s.His ability to give voice to new trends made him the "inventor" of the Made in Italy design concept.Ponti studied architecture at the Politecnico. After the First World War, in which he had to serve, he worked as artistic director for the respected ceramics manufacturing company Richard-Ginori. Between 1923 and 1927 he teamed up with architects Mino Fiocchi and Emilio Lancia, opening his own studio in 1928, and founded the famous design magazine Domus, through whose pages (and those of Lo Stile, a magazine he would found and edit in the 1940s) Ponti influenced international design tastes for over fifty years. Around 1933, Ponti teamed up with engineers Antonio Fornaroli and Eugenio Soncini to create the Ponti-Fornaroli-Soncini studio, which firmly embraced the modernist aesthetic and worked until 1945. In 1950, Ponti was commissioned to build what would become one of the iconic buildings of the 20th century, the 32-storey Pirelli Tower in Milan.
ETTORE SOTTSASS (Innsbruck 1917-Milano 2007). Armchair Flying Carpet in wood covered with a carpet with a large padded edge. Backrest, armrest and cushion in polyurethane foam covered with colored fabrics. Side table in solid walnut. Production BEDDING PATENTS. 1974. With manufacturer's label and brochure. 69x102x180cm approx. ETTORE SOTTSASS (Innsbruck 1917-Milano 2007). Poltrona Tappeto Volante in legno rivestito con tappeto dal grande bordo imbottito. Schienale, bracciolo e cuscino in poliuretano espanso rivestiti con stoffe colorate. Tavolinetto laterale in massello di noce. Produzione BEDDING BREVETTI. 1974. Con etichetta del produttore e brochure. 69x102x180 cm ca.
ETTORE SOTTSASSConsole «Montenegro»création circa 1980Edition Ultima Edizione, en marbreH: 100cm.(39 3/8in.); L:202cm.(79 1/2in.);P:35cm.(13 3/4in.).A marble 'Montenegro' console by Ettore Sottsass designed circa 1980.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Ettore SOTTSASS für Swid Powell Kerzenleuchter ¨Silvershade¨ - versilbertes Metall (Messing), Hersteller Cleto Munari (Italy), Doppelschaft in Stangenform bzw. gezackt, zylindrische Tülle, eckiger Stand, unter der Tülle gemarkt ¨Swid Powell, E. Sottsass¨ und ¨Silver Plated, Made in Italy¨, H 32,5cm, 1835g, nur leichte Kratzer und Gebrauchsspuren, vertreten im Metropolitan Museum of Art
Ettore SOTTSASS für ALESSI, Deckelvase ¨100% Make Up¨ - Vasenentwurf von Alessandro MENDINI, Dekor (No. 78) von E. Sottsass, Ex. 7798/10.000, Ausführung 1992, kegelförmiges Gefäß mit eingestecktem spitzen Deckel, buntes Druckdekor (auf 100 Exemplare limitiert) mit Schildkröte, Sonne, Auge, Vogel und Lotusblume, H 39cm, dazu die original Box (Alessi/Tendentse) und Buch ¨100% Make Up, Alessi Tendentse, Alessandro Mendini and...LA FABBRICA ESTETICA¨, Lederrücken, gelber Leineneinband, Pappschober
VALENTINI, NANNI1932 Sant'Angelo in Vado - 1985 VimercateTitel: Una Casa per Otto. Untertitel: 2-teilige Rauminstallation. Datierung: 1981-82. Technik: Wandobjekt: Terrakotta und Eisen; Bodenobjekt: Eisen. Maße: 40 x 32 x 20cm bzw. 42 x 35 x 27cm. Für dieses Werk liegt ein Echtheitszertifikat vom Archivio Valentini, Arcore, vom 28. August 2022, vor.Provenienz:- Privatsammlung SüddeutschlandDer Keramiker Nanni Valentini ist eine der spannendsten Persönlichkeiten der künstlerischen Forschung der italienischen Nachkriegszeit. Ausgestattet mit einer in der zeitgenössischen Debatte einzigartigen Herangehensweise an Materie, Farbe und Figur, hat sich Valentini stets durch seine kultivierte und kenntnisreiche Haltung sowie durch eine enorme Kraft in seinen plastischen Visionen ausgezeichnet. Ab 1945 besuchte er die Kunstschule für keramische Dekoration in Pesaro. 1949 wechselte er an das Kunstinstitut in Faenza, das er bis 1953 besuchte. Im Herbst 1957 zog er nach Mailand. Er verkehrte mit Scanavino, Tancredi, Arnaldo und Giò Pomodoro, Ettore Sottsass und Lucio Fontana, der 1958 seine erste Mailänder Einzelausstellung im Ariete organisiert. Eine starke Neigung, die unterschiedlichsten Wissensgebiete zu studieren, und das Eintauchen in das Mailänder Umfeld der 1960er Jahre führten dazu, dass sich seine Poetik schnell von der Keramik hin zu einem grundlegenden Nachdenken über plastische Formen und Bilder entwickelte. Es folgten zahlreiche internationale Ausstellungen in den 1970er und 80er Jahren. 1982 nahm er an der Biennale von Venedig teil. Heutzutage sind seine Werke in zahlreichen wichtigen internationalen Institutionen vertreten. Erläuterungen zum Katalog
Sottsass, Ettore1917 Innsbruck - 2007 Mailand.«Tahiti» Tischlampe.Memphis Milano, Mailand, Entwurf 1981. Metallrohr und Metallblech, lackiert, Holz, lackiert, und Sperrholz laminiert. Prismenförmiger, schwarz-weiß gemusterter Fuß, diagonal stehender Arm mit einer röhrenförmigen und einer Dreiecksstütze, quaderförmiger, roter Lampenschirm, verstellbar an rosafarbenem Zylindergelenk mit Griff. Herstelleretikett verso am Fuß nicht mehr sichtbar bez. H. 70, B. 10, T. 45 cm.Provenienz: Privatsammlung Frankfurt a.M.Literatur: Charlotte und Peter Fiell, 1000 lights, 1960 to present, Köln 2005, S. 314 (vgl.); Giuliana Gramigna, Repertorio 1950 - 1980, Mailand 2001, S. 518 (vgl.); Badischer Kunstverein Karlsruhe (Hrsg.), Memphis Milano 1981 - 1988, Karlsruhe 1990, S. 19, Kat.Nr. 115 (vgl.).Zustandsbericht:Sehr guter Gesamteindruck. Lack kaum merklich ber.- - - - - - - - - -
Sottsass, Ettore1917 Innsbruck - 2007 Mailand.«Treetops» Deckenfluter.Memphis Milano, Mailand, Entwurf 1981. Eisenguss, Metall und Metallrohr, lackiert. Prismenförmiger Fuß in Grün metallic, gebogener, orangefarbener Schaft mit roter Handhabe, quaderförmiger, gelber Lampenschirm, verstellbar an dunkelblauem Zylindergelenk mit Griff. Dimmer. H. 195, B. 24,5, T. 83 cm.Provenienz: Privatsammlung Frankfurt a.M.Literatur: Badischer Kunstverein Karlsruhe (Hrsg.), Memphis Milano 1981 - 1988, Karlsruhe 1990, S. 19, Kat.Nr. 115 (vgl.).Zustandsbericht:Guter Gesamteindruck. Vereinzelt leicht best. am Fuß, hier und da kl. Kratzer. Kein Herstelleretikett.- - - - - - - - - -
Full title: Pietro Ferruccio Laviani (1960): Two 'Tiberio Matelassé' sideboards for EmmemobiliDescription:H 91 - L 201 - D 50 cm Tiberio Matelasse designed by Ferruccio Laviani for Emmemobili is a sideboard made of veneered panels with elements in veneered multilayer wood, worked on matelasse effect. The base in burnished hand-brushed brass and inner parts in the same veneer of the structure. Born in 1960, Ferruccio Laviani is part of a generation of Italian designers who rose to fame in the 1990's by joining the Memphis Group (movement founded by Ettore Sottsass in the 1980's). The architect really launched his international career by participating in the Memphis “12 Newcomers” (1986) and “Living on Earth” (1987) collections. He soon started prestigious collaborations with Achille Castiglioni or the Foscarini and Kartell brands, for which he created, among other things, the Bourgie lamp and the Max table, two of his greatest successes. Interior photos by Kato Peeters. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Ettore Sottsass, Swid Powell, 4 Leuchter (u.a. Modell Moonlight)Ettore SottsassSwid Powell, New York4 Leuchter (2 x Modell Moonlight und 2 weitere Modelle). Metall, versilbert. H. 32,5 und 34 cm. Unter der Tropfplatte bezeichnet: © Swid Powell/ E. SOTTSASS/ SILVER PLATED / MADE IN ITALY (Prägestempel).
Ettore Sottsass, Unikat, Spiegel Deldiavolo für die Documenta 8 in Kassel 1987Ettore SottsassUltima EdizioneDesign 1986, Production 1987Unikat. Spiegel Modell Deldiavolo. Entwurf 1986, Ausführung 1987 für die Documenta 8 in Kassel. Schwarzer und weißer Marmor, Holz partiell vergoldet oder in Airbrushtechnik bemalt, Spiegelglas. 225 x 120 x 18 cm. Im rechten Sockel mit Ritzsignatur von Ettore Sottsass. Das Echtheitszertifikat von Ultima Editione liegt vor.
Ettore Sottsass, Memphis, Deckenleuchte Modell QuisisianaEttore SottsassMemphis, MilanoDesign 1981Deckenleuchte Modell Quisisiana. Entwurf 1981. Farbig lackiertes Metall. H. 108, L. 80 cm. Seitlich mit Metallplakette 'Memphis Milano, E. Sottsass, 1981' bezeichnet.Literatur: Constance Rubini, Mermphis - Plastic Field, Bordeaux 2019, Abb. S. 30.
Ettore Sottsass, Belux, Stehtisch Modell Strutura TremanoEttore SottsassBeluxDesign 1980Hochtisch Modell Le Strutture Tremano. Entwurf 1980. Weißes Laminat, farbig lackiertes Stahlrohr, Aluminium, Glas. 114 x 50 x 50 cm. Mit Metallplakette des Herstellers bezeichnet.Literatur: Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Turin 2003, Abb. S. 290, Bd. II.
Ettore Sottsass, Knoll International, 2 Sessel Modell WestsideEttore SottsassKnoll InternationalDesign 19822 Sessel Modell Westside. Entwurf 1982. Holz, farbiger, filzartiger Stoff, Metallbeine mit weißem Strukturlack. 78 x 99 x 80 cm. Im Unterstoff mit 'Knoll International' bezeichnet.Literatur: Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Turin 2003, Abb. S. 308, Bd. II.
Ettore Sottsass, Venini, Glasobjekt Gopuram Rosso, Ex. 52/99.Ettore SottsassVenini, MuranoDesign 2001Glasobjekt Gopuram Rosso. Entwurf 2001. Ausführung 2004. Limitierte Auflage von 99 Exemplaren, hier das Stück mit der Nummer 61. Rotes Glas mit violettblauem Einsatz. H. ca. 51 cm. Auf der Wandung am unteren Rand bezeichnet: venini 2004 Ettore Sottsass 52/99 (graviert). .Literatur: Luca Massimo Barbero (Hg.). Ettore Sottsass. The Glass. O.O. Mailand 2017, S. 208, Abb.
Ettore Sottsass, Memphis, Glasobjekt Mizar, 1982Ettore SottsassMemphis, Milano1982Glasobjekt Mizar. Entwurf 1982. Blaues und farbloses Glas, polychrome henkelartige Applikationen. H. 32,5. Am unteren Rand bezeichnet: E.SOTTSASS PER MEMPHIS BY COMPAGNIA VETRERIA MURANESE (graviert).Literatur: Memphis. Céramique, Argent, Verre. 1981-1987. Katalog Ausstellung Musées de Marseille 1991, S. 95, Abb. 54.
Ettore Sottsass, Vistosi, Vase MorosinaEttore SottsassVetreria Vistosi, Murano1974Vase Morosina. 1974. Opak weißes, farblos überfangenes Glas mit schwarzen ringförmigen Applikationen. H. 39 cm. Am Boden bezeichnet: E.SOTTSASS VISTOSI 188/250 (graviert). Sottsass entwarf 1974 für Vistosi eine limitierte Serie von 10 verschiedenen Objekten, die jeweils in einer Auflage von 250 Exemplaren ausgeführt wurden. Aus der Serie Morasina das Stück mit der Nummer 180.Literatur: Hans Höger. Ettore Sottsass. Designer, Artist, Architect, Tübingen 1993, S. 186/ 187.
Ettore Sottsass, Vistosi, Schale DogaressaEttore SottsassVetreria Vistosi, MuranoDesign 1974Schale Dogaressa. Entwurf 1974. Schwarzes und opak weißes, farblos überfangenes Glas. H. 13 cm. D. 31 cm. Am Boden bezeichnet: E.SOTTSASS 132/250 VISTOSI (graviert). Aus einer limiterten Edition von 250 Exemplaren, hier die Nummer 132.
Ettore Sottsass, Il Sestante, TischleuchteEttore SottsassDesign 1966Tischleuchte Modell Il Sestante. Entwurf 1966. Keramik, grün und weiß glasiert. Messing. Stoff. H. 71, D. 40 cm. Am Boden bezeichnet: 608 IL SESTANTE SOTTSASS.Literatur: Ettore Sottsass. Auch der Turm von Babel war aus gebrannter Erde. Katalog Ausstellung Hetjens Museum Deutsches Keramikmuseum Düsseldorf 2012, S. 95.
Ettore Sottsass, Bitossi, Große VaseEttore SottsassBitossi, MontelupoGroße Vase. Steinzeug, geometrisches Dekor in Schwarz und Weiß. H. 45 cm, D. 15,5 cm. Am Boden bezeichnet: E. Sottsass Bitossi Montelupo (schwarzer Schriftzug). Die Vasen mit ihren charakteristischen Dekoren gehen zurück auf frühe Entwürfe vom Ende der 1950er Jahre, als Sottsass das Thema der sich kreuzenden schwarzen und weißen Bänder bereits mehrfach variierte.Literatur: Vgl. dazu: Ettore Sottsass-Keramik. Katalog zur Aussellung Hetjens Museum, Deutsches Keramikmuseum Düsseldorf 2011/2012, S. 88-91 (Abb.).
Ettore Sottsass, Teekanne Basilico aus der Serie Indian MemoriesEttore SottsassDesign 1972Teekanne/ Teiera Basilico aus der Serie Indian Memories. Entwurf 1972. Keramik, Korpus weiß/ Deckel leicht gräulich weiß glasiert. H. 21 cm. Die Teekanne ging in der vorliegenden Farbe nicht in Produktion. 1988 wurde von Anthologia Quartett/ Alessio Sarri eine Reedition in Hellgrün herausgegeben. Provenienz: erworben in der Galleria Clio Calvi Rudy Volpi, Milano.Literatur: Ettore Sottsass. Die Keramik. Hg. Bruno Bischofsberger. Zürich 1995, S. 161.
Ettore Sottsass, Ultima Edizione Mikro Architekturmodell TimpanoEttore SottsassUltima EdizioneDesign about 1986Limitierte Skulptur / Mikro Architektur Modell Timpano. Entwurf um 1986. Weißer und schwarzer Marmor. 26 x 20 x 10 cm. Unterseitig signiert und nummeriert: Ettore Sottsass 56/300 (graviert). Aus einer limitierten Auflage von 300 Exemplaren, hier die Nr. 56.Literatur: Ultima Edizione. Mediterranean Marbles. Produktkatalog Massa o.J., unpag., Abb. Umschlag vorne und Abb. 15 (Mikroarchitetture).
Ettore Sottsass, Memphis, Tischleuchte Modell TahitiEttore SottsassMemphis, MilanoDesign 1981Tischleuchte Modell Tahiti. Entwurf 1981. Farbig lackiertes Metall, Holz und Laminat. 70 x 40 x x10 cm. Rückseitig mit Metallplakette 'Memphis Milano, E. Sottsass, 1981' und Aufklebern bezeichnet.Literatur: Constance Rubini, Mermphis - Plastic Field, Bordeaux 2019, Abb. S. 29.
Ettore Sottsass, Bitossi, De Bijenkorf, Keramik SchaleEttore SottsassBitossi, Montelupo1984Schale. Keramik. Entwurf 1958 für Il Sestante. Reedition von Bitossi für das niederländische Luxuskaufhaus De Bijenkorf Amsterdam 1984. Keramik, Dekor mit Glasuren in Türkis, Weiß, Gelb und Schwarz. Ca. 29,5 x 30 cm, H. 7,5 cm. Am Boden bezeichnet: c79/30 und Bijenkorf-Logo.
Original vintage advertising poster Olivetti DomusLife, featuring interior design and household elements – table, refrigerator, rug, bookshelf, computer, bed, cupboard, kitchen, lamp, and people in form of cut-outs set over white background. The Italian company Olivetti (founded 1908) produced type-writers, calculators and computers; the company employed the best commercial artists and graphic designers to create posters for their marketing campaigns. Excellent condition. Country of issue: Italy, designer: Ettore Sottsass, size (cm): 69x49, year of printing: 1990s.
Binazzi, Lapo. Cool lights - indifferent technology. Mit zahlreichen, teils farbigen Abbildungen. Hannover, zweitschrift, 1982. 16 Bl. 18,5 x 15 cm. Illustrierte Original-Broschur (minimal gebräunt).Seltener Katalog mit Lampenentwürfen des italienischen Designers und Gründers der Gruppe UFO. - "Lapo Binazzi gehört - ebenso wie Branzi, Deganello und Sottsass zu den italienischen Designern, die Ende der Sechziger Jahre in Gruppen wie 'Archizoom', 'Superstudio', 'UFO' und '999' das 'disegno radicale' entwickelten. Eine offene Form, die sich gegen Gewohnheit, Geradlinigkeit, Ordnungswahn, Gesetzestreue und gegen den Markt, gegen die eigene Vermarktung zur Wehr setzte." (Michael Erlhoff, documenta 8 Katalog, 1987). - Guter Zustand.
AN OCCASIONAL TABLEUNMARKED, LATE 20TH CENTURYIn the manner of Ettore Sottsass, yellow, red and black painted steel, glass and concrete73cm high, 129cm diameter Provenance: Purchased from these rooms, Contemporary Living, 7 November 2018, lot 5 previously believed to have been bought from Rossana Orlandi, SRL about ten years previousPlease note the original measurements were 'spoonerised' the height is 73cm, the diameter 129cm not the other way around as previously catalouged. This has now been updated for the online listingsCondition Report: Please note the original measurements were 'spoonerised' the height is 73cm, the diameter 129cm not the other way around as previously catalogued. This has now been updated for the online listingsMarks, knocks, scratches, abrasions consistent with age and use,The glass top with the usual marks and signs of use, some small nibbles to the edgesThere is some chipped paint to the yellow areas particularly Overall entirely stable, Missing pads to the top to stop the table scratching on the base, these could easily be replaced, there are some marks where these have previously satPlease refer to additional images for visual reference to conditionCondition Report Disclaimer
An 'Eastside' armchair,designed by Ettore Sottsass for Knoll, with Harris Tweed, pink and blue wool upholstery, raised on a grey stand, labelled, 80cm wide 72cm deep85cm high, seat 44cm highBuying this armchair could save up to 0.16 tonnes of CO2e compared to buying new.Condition ReportUsed condition. Labelled 'Harris Tweed'. The base of the stand has small rust areas. Upholstery good overall.
An Italian 'Callimaco' floor lamp,designed in 1982 by Ettore Sottsass for Artemide, with a red-lacquered funnel-shaped shade, surmounted on a yellow-lacquered stem, the stem mounted with a carrying handle to the side, raised on a grey-lacquered conical base, with manufacturer's marks to the underneath, 202cm high Condition ReportNeeds rewiring. The yellow appears somewhat faded. The foot with a dent. Rubbing to the underneath. The dinner missing it's knob. Additional images uploaded.
BRUNO GECCHELIN (Milan, 1939) for SKIPPER.Floor lamp, model "Gesto", 1970s.Marble base, metal rods and white metal shade.Producer Skipper.May show signs of age.Working.The piece will be available after a period of approximately 10-15 days.Measurements: 220 x 17 x 62 cm.Bruno Gecchelin graduated in architecture at the Milan Polytechnic School. Since 1962 he has been designing furniture, decorative items and lighting equipment. His most important professional experiences include the design of office machinery and electronics for Olivetti, at first together with Ettore Sottsass and later alone, Panda car accessories for Fiat and air conditioning equipment for Riello. Other companies he has worked for include Fratelli Guzzini, Frau, Arteluce, Indesit, Busnelli, Skipper, Antonangeli, Ycami, Venini and Magneti Marelli.His work has received numerous awards, the most prestigious being the "Lampada D'Oro" in 1980, the BIO/Lubiana in 1982 and 1988 and the Compasso D'Oro in 1989 and 1991. He has been working with Oluce specifically since 1968, and in 1985 this cooperation was marked by a recommendation for the Compasso d'Oro award for the "Personal" table lamp.
GIO PONTI (Milan, 1891-1979) for CASA GIARDINO.Set of armchairs and sofa, 1940s.Beige velvet and wooden tufts.Producer Casa Giardino.Shows signs of use.The lot will be available after a period of approximately 10-15 days.Measurements: 70 x 150 x 82 (sofa); 71 x 83 x 82 cm (armchairs).Architect, designer and academic, Gio Ponti is, along with Ettore Sottsass, the leader of the most sought-after Italian designers of the 20th century by collectors.In addition to the elegance of his furniture, sensitive to functionality, yet original at the same time, Ponti is renowned for his volcanic creativity, which led him to produce and design until the 1970s.His ability to give voice to new trends made him the "inventor" of the Made in Italy design concept.Ponti studied architecture at the Politecnico. After the First World War, in which he had to serve, he worked as artistic director for the respected ceramics manufacturing company Richard-Ginori. Between 1923 and 1927 he teamed up with architects Mino Fiocchi and Emilio Lancia, opening his own studio in 1928, and founded the famous design magazine Domus, through whose pages (and those of Lo Stile, a magazine he would found and edit in the 1940s) Ponti influenced international design tastes for over fifty years.Around 1933, Ponti teamed up with engineers Antonio Fornaroli and Eugenio Soncini to create the Ponti-Fornaroli-Soncini studio, which firmly embraced the modernist aesthetic and worked until 1945. In 1950, Ponti was commissioned to design what was to become one of the iconic buildings of the 20th century, the 32-storey Pirelli Tower in Milan.Throughout his career, Ponti played many different roles: architect, industrial designer, craftsman, teacher, painter, editor and journalist.
Ettore Sottsass (1917-2007), black ceramic lidded box, model Y-26, designed in 1969, signed to base, 19.5cm wide, 13.25cm high CONDITION REPORT: Overall appearance good. Small chip to one corner near base and shallow chip to opposite base edge.ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
ZylindervaseDefne Koz for HWC (Handle With Care) Egizia, by Sottsass Associati, Italien, 2. H. 20. Jh., rauchgraues Glas, mattiert, von zylindrischer Form, mit lithografiertem, vollflächigem Dekor aus goldfarbenen Punkten, Vase am Stand mit Herstellerbez., am Mündungsrand mit 2 Herstelleraufklebern, bodenseitig mit Aufkleber, H: 30 cm.
7 Bücher | Design & KunsthandwerkR. Labaco, Ettore Sottsass - Architect and Designer, Merrell, 2006; P. Todd, The Arts & Crafts Companion, Bulfinch, 2004; R. Möller, Lampen, Lüster und Leuchter, Deutscher Kunstverlag, 2000; OP+POP - Experimente amerikanischer Künstler ab 1960, Hirmer, 2013; Möller, Jugendstil - Möbel, Glas, Keramik, Metalle, Schmuck, Leuchten, Uhren, Kunstverlag, 1999; Op Art Kinetik Licht - Sammlung Würth, Swiridoff, 2015; D. Weidmann, Design des 20. Jahrhunderts, Kunstverlag, 1998. Leichte Altersspuren, Vorsätze gestempelt, vereinzelt Anstreichungen.
[s and up] Memphis (1) Ettore Sottsass, Formal Excercise Nr.2. Catalogue for Decorative Furniture in Modern Style. 1978-1980. Lodi, Ettore Sottsass and Studio Forma/Alchimia, 1980. Softcover, 21 x 29 cm, 50 pp. Ills. in b/w and colour, text by Sottsass in Italian and English.(2) Memphis. Den Bosch, Kruithuis, 1984. Softcover, 69 pp. Cover designed by Nathalie du Pasquier. (3) Memphis 1981-1988. Groninger Museum, 1989. Hardcover, special designed cover, 160 pp. Dutch text. All copies in fine state. (total 3)
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