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An Alessi 16 piece cutlery set, Nuovo Milano, designed by Ettore Sottsass. Boxed.

λ  ETTORE SOTTSASS (ITALIAN 1917-2007) ARCHITECTURAL PLAN Pencil and coloured crayon Signed and dated Octtobre 91 (lower left); inscribed Nord (lower centre) 29 x 21cm (11¼ x 8¼ in.)

Tischleuchte "Pausania", Entw. EttoreSottsass 1983 f. Fa. Artemide, Italien. Verchromtes Metall u. Kunststoff. Architektonischer Aufbau. Schmal-rechteck. abgetrepptem Sockel, darauf seitl. je 2 halbhohe schmale Rundsäulen m. würfelförm. grünen Kunststoffaufsätzen, die einen abgetreppten u. abgerundeten Aufsatz aus schwarzen Platten m. Lochplatteneinsatz tragen, darin 2 Leuchtmittel. Sockel m. seitl. Kippschalter. Funktionstüchtig. H 42, B 48, T 11 cm. Gebrauchsspuren, Oberfläche m. leichten Kratzern, Kabel berieben.

An Olivetti 'Valentine' portable typewriter, designed in 1969 by Ettore Sottsass (1917-2007), in original red carrying case.

An Olivetti 'Valentine' portable typewriter, designed in 1969 by Ettore Sottsass (1917-2007), in original red plastic carrying case.

Ettore Sottsass (1917-2007)Space Age plastic and metal coat rack with umbrella stand, design Ettore Sottsass, manufactured by Olivetti, model 'Synthesis', Italy 1970s, 152 cm high

Ettore Sottsass (1917-2007)Space Age plastic and metal coat rack with umbrella stand, design Ettore Sottsass, manufactured by Olivetti, model 'Synthesis', Italy 1970s, 152 cm high

A Memphis dining table, 1980s, by Sottsass Associati for Bieffeplast, with a glass top over a chrome rail and black tubular frame, 140cm square 74cm high

ETTORE SOTTSASS (1917-2007)Lampe de table Jagati de la série Mobili LunghiCréation en 2000Edition Post DesignPlaque de l'éditeurBois peintTafellamp 'Jagati' uit de serie 'Mobili Lunghi'Ontwerp 2000Uitvoering Post DesignPlaatje van de editeurGelakt houtA 'Jagati' table lamp from the 'Mobili Lunghi' series in lacquered wood designed by Ettore Sottsass in 2000 and edited by Post Design.H: 12 cm. (4.3/4in.); L: 22 cm. (8.5/8in.); P: 22 cm. (8.5/8in.)For further information on this lot please visit Bonhams.com

ETTORE SOTTSASS (1917-2007)Lampe Pattica de la série Mobili LunghiCréation en 2000Edition Post DesignBois peintTafellamp 'Pattica' uit de serie 'Mobili Lunghi'Ontwerp 2000Uitvoering Post DesignGelakt houtA 'Pattica' lamp from the 'Mobili Lunghi' series in lacquered wood designed by Ettore Sottsass in 2000 and edited by Post Design.H: 31 cm. (12.1/4in.); L: 58 cm. (22.3/4in.); P: 22 cm. (8.5/8in.)For further information on this lot please visit Bonhams.com

ETTORE SOTTSASS (1917-2007)Lampe AshokaCréation en 1981 Edition Memphis, MilanoMétal chromé et peintLamp 'Ashoka'Ontwerp 1981Uitvoering Memphis, MilanoVerchroomd en gelakt metaalAn 'Ashoka' lamp in chrome-plated metal and lacquered metal designed by Ettore Sottsass in 1981 and edited by Memphis, Milano.H: 87 cm. (34.1/4in.); L: 79 cm. (31.1/8in.); P: 8 cm. (3.1/8in.)For further information on this lot please visit Bonhams.com

Ettore Sottsass (Austrian/Italian 1917-2007) for Habitat - Pair of 'Fischietto' whistle vases, with turquoise glazed finish, H31cm

Ring 'Arches', 2000Gelb- und Weißgold 750.38,08 Gramm. Ringgröße 56.Cleto Munari. Gestempelt: SOTTSASS, cleto munari, 750, Werkstattmarke.Alba Cappellieri, Cleto Munari. Jewelry Design, 2021, S. 157.

Ettore Sottsass, Schale 'Alzata a scalino' - Modell 540, 1956H. 24 cm, Ø 39 cm.Bitossi, Montelupo.Steingut, lindgrün, himbeerrot, weiß und metallic-grau glasiert.Bez.: E. Sottsass Bitossi - Montelupo (handschriftlich, schwarz).In Originalkarton.Ferrari, Sottsass 1000 Ceramics, Turin 2017, S. 161 (dort nur 'Alzata' genannt).

Ettore Sottsass, Schreibmaschine 'Valentine S', 1969H. 11,5 x 34,5 x 35 cm. Olivetti, Ivrea.Rotes ABS-Kunststoffgehäuse, rote Kunststoffbox, Gummi, schwarz.Bez.: Herstellerprägung Olivetti plant Made in Barcelona. Labaco, Ettore Sottsass, Architect and Designer, London 2006, S. 41; Kat. Design Process Olivetti 1908-1983, Mailand 1983, S. 122 f.

Ettore Sottsass, Armlehnsessel 'Teodora', um 1984 (Entwurf)H. 82 x 56 x 56 cm.Vitra, Weil am Rhein.Holzkonstruktion mit weißgrauem Laminat; Plexiglas, farblos.Radice, Memphis, München 1984, S. 207.

Ettore Sottsass , Läufer 'Sottsass 1', um 1983337 x 86 cm. Tai Ping für Design Gallery, Mailand.Schurwolle, vielfarbig.Bez.: Herstelleretikett, Wollsiegel 'Perigen'.

Ettore Sottsass, Schale 'Alzata Grande' - '543', 1958H. 23,7 cm, Ø 25,5 cm.Bitossi, Montelupo, nach 1986.Steingut, türkis-blau und metallic-anthrazitgrau glasiert.Bez.: E. SOTTSASS BITOSSI MONTELUPO (schwarz, handschriftlich). In Originalkarton.Ferrari, Sottsass 1000 Ceramics, Turin 2017, S. 161 (dort 'Centrotavola piccolo' genannt).

Ettore Sottsass, Fernseher 'Memphis 1 TVC 26', 1980 (Entwurf)H. 57 x 70 x 43 cm.Brionvega, Mailand.Spanholz, Kunststofflaminat, schwarz-rot, schwarzer Kunststoff, farbloses Glas.Mit Fernbedienung. Aus einer limitierten Fernseher-Serie 'Memphis', die mit Laminaten von Abet Laminati verkleidet waren.Vgl. Albini / Rosetti, Il design di Brionvega, Mailand 2001, S. 30, S. 32.

Ettore Sottsass, Vase '547', 1958H. 26,2 cm, Ø 20 cm.Bitossi, Montelupo.Steingut, anthrazitgrau und schwarz glasiert.Bez.: E. SOTTSASS BITOSSI MONTELUPO (schwarz, handschriftlich). In Originalkarton.Ferrari, Sottsass 1000 Ceramics, Turin 2017, S. 161

Memphis-Wandspiegel "Barbara" von Ettore SottsassWeißer und roséfarbener Marmor sowie gelb-schwarz gemaserter Terrazzo und Spiegelglas. Querrechteckig angelegte Spiegelfläche mit Segmentbekrönung. Vorgelagerte Abstellfläche sowie vertikal angeordnete Pilaster. Unbez.; Entw. Ettore Sottsass. 62 cm x 68 cm.A marble and terrazzo memphis mirror designed by Ettore Sottsass. Unmarked.Italien. Mailand. Studio Memphis. 1980er Jahre.

Ettore Sottsass (1917-2007)2 Postmodernism black upholstered armchairs with seat and headrest covered with cowhide, standing on metal legs ending in a plastic ring, design Ettore Sottsass executed by Knoll International, model 'East Side', marked under the seat and on the bottom, Italy design year 1983, 85 cm high, 80 cm wide and 77 cm deep

Ettore Sottsass, Tischleuchte Modell DonEttore SottsassStilnovoEntwurf 1977. Ausführung Stilnovo. Lackiertes Metall. 40 x 14 x 32 cm. Mit Firmenaufkleber bezeichnet.

Ettore Sottsass, Stehleuchte Modell SvincoloEttore SottsassMemphisEntwurf 1979. Ausführung Studio Alchimia aus der bau. haus art collection.Kunststofflaminiertes Holz, verchromter Stahl und rote + blaue Neonröhren. 250 x 62,5 x 45 cm.Gramigna & Giuliana, 1950/1980 Repertorio, Mailand 1985, Abb. S. 505.

Ettore Sottsass, Beistelltisch Modell CreamEttore SottsassEntwurf 1984. Ausführung Memphis. 41 x 49 x 49 cm.

Ettore Sottsass, Vase Modell Rocchetta aus der Hollywood SerieEttore SottsassBitossiEntwurf 1856. Ausführung Bitossi. Keramik. H. 45, D. 15,5 cm. Unterseitig bezeichnet mit Prestempel Bitossi und Schriftzug 'Bitossi Montelupo Sottsass'.

Ettore Sottsass, TischleuchteEttore SottsassVistosiEntwurf 1970/80er Jahre. Ausführung Vwohl istosi. Lackiertes Metall, farbiges Glas. 67 x 50 x 28 cm

Ettore Sottsass, Deckenleuchte Modell QuisisianaEttore SottsassMemphisEntwurf 1981. Ausführung Memphis. Lackiertes Metall. 91 x 70 x 15,5 cm.

Ettore Sottsass, Fußschale Modell Alzata Grande in OVPEttore SottsassBitossiEntwurf 1958. Ausführung Bitossi. Keramik. H. 23, D. 25 cm. Unterseitig mit 'E. Sottsass Bitossi Montelupo' bezeichnet.

Ettore Sottsass, Limitierte, zylindrische Vase aus der Rocchetti SerieEttore SottsassBitossiEntwurf 1957. Ausführung Bitossi 2001 in einer limitierten Auflage von 20 Stück, hier Exemplar Nr. 5. Keramik. H. 33, D. 9 cm. Unterseitig bezeichnet 'E. Sottsass 1957, Riedizione GM 2001, Made in Italy, N. 5/20'.

Ettore Sottsass, Regal Modell CasablancaEttore SottsassMemphisEntwurf 1981. Ausführung Memphis. Laminierte Oberflächen mit Dekor Spugnato in Rot, Gelb und Weiß und schwarzes Laminat. 223 x 160 x 40 cm. Rückseitig mit Memphis Plakette bezeichnet.Barbara Radice, Memphis Design, München 1982, Abb. S. 37.

Ettore Sottsass, Stehtisch Modell IvoryEttore SottsassMemphisEntwurf 1985. Ausführung Memphis. Laminiertes und lackiertes Holz, Glas. H. 100,5, D. 97 cm.

Ettore Sottsass, Limitierte, große Fußschale aus der Rocchetti SerieEttore SottsassBitossiEntwurf 1959. Ausführung Bitossi 2002 in einer limitierten Auflage von 20 Stück, hier Exemplar Nr. 7. Keramik. H. 21,5, D. 22,5 cm. Unterseitig bezeichnet 'E. Sottsass 1959, Riedizione 2002 GM No 7/20 Made in Italy'.

Ettore Sottsass, Tischleuchte Modell Palmtree Caribe für das Modelabel FiorucciEttore SottsassTargettiEntwurf 1980er Jahre. Ausführung Targetti. Lackiertes Metall. 92 x 50 x 23 cm. Mit hersetllerlabel und Fiorucci bezeichnet.Guter Zustand. Leichte Gebrauchsspuren an der Lackierung des Stammes.

Ettore Sottsass, 2 Stühle Modell TeodoraEttore SottsassVitraEntwurf 1986/87. Ausführung Vitra. Holz mit laminierten Oberflächen, Acryl. 82 x 56,5 x 56 cm. Volker Fischer, Design Heute, München 1988, Vgl. Abb. S. 84.

Ettore Sottsass, Limitierte, zylindrische Vase aus der Rocchetti SerieEttore SottsassBitossiEntwurf 1957. Ausführung Bitossi 2001 in einer limitierten Auflage von 20 Stück, hier Exemplar Nr. 5. Keramik. H. 33, D. 9 cm. Unterseitig bezeichnet 'E. Sottsass 1957, Riedizione GM 2001, Made in Italy, N. 6/20'.

Teekanne "Lapislazzuli" (Serie "The Indian Memory") - Ettore SottsassAusführung: Sesto Fiorentino / Italien, für Anthologie Quartett, Bad Essen, ca. 1987 Keramik, weiße Glanzglasur. Auf dem Boden in Gold bez.: E.SOTTSASS und No. 003. Deckel in Gold bez.: No. 003. H. 20,5 cm, B. 18,5 cm, T. 20,5 cm. Entwurf von Ettore Sottsass (1917-2007) aus dem Jahr 1972. - Hersteller Alessio Sarri Ceramiche (1981) - Herausgeber Anthologie Quartett (1983-2013, 2014-). Bei Online Collection Staatliche Kunstsammlungen Dresden in dieser Farbe als Prototyp bezeichnet. - https://skd-online-collection.skd.museum/Details/Index/5463163 - Zustand: min. Chip am oberen Deckelrand - auf unterer Stufe zwei Kratzer und min. Chip an der Kante.

Ettore Sottsass (1917-2007) for Olivetti Desk, circa 1970s Lacquered steel, lacquered wood 66cm high, 121cm wide, 60cm deep 

Ettore Sottsass (1917-2007) for Poltronova  'Vienna' dining table, circa 1989  Ash  Branded mark 'SOTTSASS'  73cm high,184cm wide, 83cm deepCondition Report: Overall general surface wear to include small scratches and scuffs (Scuff marks particularly to corners and some marks to bottom of legs). Otherwise in generally good presentable condition.

An Italian Sottsass large glass cylindrical vase by Barbara Farni with multi coloured vertical line detail. Labelled. 35cm high

GROßER STANDSPIEGEL " ULTRAFRAGOLA". Sottsass, Ettore. Datierung: Entwurf 1970. Ausführung Poltranova, Pistoia. Technik: Spiegelglas, Kunststoff, Leuchtstoffröhren. Die Rückwand aus geweißtem Holz. Beschreibung: Hochrechteckige Form mit breiter, fünfstufig gewellter und hinterleuchtete Rahmung mit hellgelbem Farbverlauf. Das Spiegelglas in den Ecken durch Verschraubung montiert. Maße: Höhe 195cm, Breite 100cm. Elektrifiziert. Provenienz: Privatsammlung Siegfried Mayska, Mönchengladbach. Erläuterungen zum Katalog Ettore Sottsass Italien Design Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.

ETTORE SOTTSASS (ITALIAN 1917-2007) FOR STILNOVO TWO 'DORAN' TABLE LIGHTS, DESIGNED 1978 applied Murano labels (to the glass), glass and enamelled metal 22cm high, 19.5cm wide (8 5/8in high, 7 5/8in wide) and 20cm high, 19.5cm wide (7 7/8in high, 7 5/8in wide) (2) ‘When I was young, all we ever heard about was functionalism, functionalism, functionalism. It’s not enough. Design should also be sensual and exciting.’Ettore Sottsass.Ettore Sottsass was a renowned Austrian-born Italian architect and designer whose work is instantly recognisable for the manner in which it disrupted tradition and expectation with bold colours and innovative forms. Born in 1917, he followed in his father’s footsteps by studying architecture, graduating from the Politecnico di Torino in Turin in1939. Following on from the Second World War, he set up his own architectural and industrial design studio experimenting and exploring with a wide range of materials: from ceramics to furniture and from jewellery to architecture. In 1958, Sottsass became a design consultant with the manufacturer Olivetti, and it was during this period that he started developing his use of bold colours, that began blurring the boundaries between pop culture and industrial design. Amongst the designs concepts  that he created for Olivetti, was the Valentine typewriter in 1969, that ‘subverted the status quo’ of typewriter design, and it remains a milestone in the fiel, capturing the ethos of the counter-culture emerging in the late 1960s. Throughout this decade and the 1970s, Sottsass travelled widely, absorbing what he experienced and reproducing it in his larger, sometimes abstract work. Following his time at Olivetti, Sottsass formed the influential and groundbreaking Memphis Group, or Memphis Milano, in 1980. Active until 1987, its postmodern furniture, lighting, fabrics and objects were characterised by colourful and abstract decoration, asymmetrical forms, and references to earlier and exotic designs and styles. One of their great breaks from the immediate past was the idea that form and function should stand in equal partnership – the Memphis artists believed in an uninhibited creative freedom. As a result, the Memphis Group changed the course of design history, creating an aesthetic that represented a distinct moment in time immediately recognisable as a 1980s look. Its legacy is significant in allowing a new generation of designers to break all the rules.This autumn we are delighted to offer four works that convey Sottsass’ diverse and bold practice throughout his career. The Ultragragola mirror, produced for Poltronova, was designed by Sottsass in 1970 as part of the Mobili Grigi - the only piece from the collection to proceed beyond the prototype phase, and possibly one of the most iconic of his early designs. Compared to the Park Lane coffee table, produced for Memphis Milano in 1983, and the eye-catching large Claire de Lune Totem, designed around 1988 for Mirabili, it conveys his ability to master a range of materials and styles and to produce strikingly confident forms instantly recognisable in the history of twentieth-century design.

ETTORE SOTTSASS (ITALIAN 1917-2007) 'CLAIR DE LUNE' TOTEM, DESIGNED 1988 wood, metal and glazed ceramic, outside the edition of 29 190cm high (74 ¾in high) including wooden base, 175cm high (68 7/8in high) excluding wooden base P. Brillet Esq, from whom acquired by the current vendor;Private Collection, London. ‘When I was young, all we ever heard about was functionalism, functionalism, functionalism. It’s not enough. Design should also be sensual and exciting.’Ettore Sottsass.Ettore Sottsass was a renowned Austrian-born Italian architect and designer whose work is instantly recognisable for the manner in which it disrupted tradition and expectation with bold colours and innovative forms. Born in 1917, he followed in his father’s footsteps by studying architecture, graduating from the Politecnico di Torino in Turin in1939. Following on from the Second World War, he set up his own architectural and industrial design studio experimenting and exploring with a wide range of materials: from ceramics to furniture and from jewellery to architecture. In 1958, Sottsass became a design consultant with the manufacturer Olivetti, and it was during this period that he started developing his use of bold colours, that began blurring the boundaries between pop culture and industrial design. Amongst the designs concepts  that he created for Olivetti, was the Valentine typewriter in 1969, that ‘subverted the status quo’ of typewriter design, and it remains a milestone in the fiel, capturing the ethos of the counter-culture emerging in the late 1960s. Throughout this decade and the 1970s, Sottsass travelled widely, absorbing what he experienced and reproducing it in his larger, sometimes abstract work. Following his time at Olivetti, Sottsass formed the influential and groundbreaking Memphis Group, or Memphis Milano, in 1980. Active until 1987, its postmodern furniture, lighting, fabrics and objects were characterised by colourful and abstract decoration, asymmetrical forms, and references to earlier and exotic designs and styles. One of their great breaks from the immediate past was the idea that form and function should stand in equal partnership – the Memphis artists believed in an uninhibited creative freedom. As a result, the Memphis Group changed the course of design history, creating an aesthetic that represented a distinct moment in time immediately recognisable as a 1980s look. Its legacy is significant in allowing a new generation of designers to break all the rules.This autumn we are delighted to offer four works that convey Sottsass’ diverse and bold practice throughout his career. The Ultragragola mirror, produced for Poltronova, was designed by Sottsass in 1970 as part of the Mobili Grigi - the only piece from the collection to proceed beyond the prototype phase, and possibly one of the most iconic of his early designs. Compared to the Park Lane coffee table, produced for Memphis Milano in 1983, and the eye-catching large Claire de Lune Totem, designed around 1988 for Mirabili, it conveys his ability to master a range of materials and styles and to produce strikingly confident forms instantly recognisable in the history of twentieth-century design.

ETTORE SOTTSASS (ITALIAN 1917-2007) 'PARK LANE' COFFEE TABLE, DESIGNED 1983 fiberglass and marble  36.5cm high, 97cm diameter (40 3/8in high, 38in diameter) Private Collection, London. Literature:Radice, Barbara, Memphis: Research, Experiences, Results, Failures and Successes of New Design, London, 1984, p. 177;Memphis Milano, manufacturer's catalogue, Milan, 1986, p. 19. ‘When I was young, all we ever heard about was functionalism, functionalism, functionalism. It’s not enough. Design should also be sensual and exciting.’Ettore Sottsass.Ettore Sottsass was a renowned Austrian-born Italian architect and designer whose work is instantly recognisable for the manner in which it disrupted tradition and expectation with bold colours and innovative forms. Born in 1917, he followed in his father’s footsteps by studying architecture, graduating from the Politecnico di Torino in Turin in1939. Following on from the Second World War, he set up his own architectural and industrial design studio experimenting and exploring with a wide range of materials: from ceramics to furniture and from jewellery to architecture. In 1958, Sottsass became a design consultant with the manufacturer Olivetti, and it was during this period that he started developing his use of bold colours, that began blurring the boundaries between pop culture and industrial design. Amongst the designs concepts  that he created for Olivetti, was the Valentine typewriter in 1969, that ‘subverted the status quo’ of typewriter design, and it remains a milestone in the fiel, capturing the ethos of the counter-culture emerging in the late 1960s. Throughout this decade and the 1970s, Sottsass travelled widely, absorbing what he experienced and reproducing it in his larger, sometimes abstract work. Following his time at Olivetti, Sottsass formed the influential and groundbreaking Memphis Group, or Memphis Milano, in 1980. Active until 1987, its postmodern furniture, lighting, fabrics and objects were characterised by colourful and abstract decoration, asymmetrical forms, and references to earlier and exotic designs and styles. One of their great breaks from the immediate past was the idea that form and function should stand in equal partnership – the Memphis artists believed in an uninhibited creative freedom. As a result, the Memphis Group changed the course of design history, creating an aesthetic that represented a distinct moment in time immediately recognisable as a 1980s look. Its legacy is significant in allowing a new generation of designers to break all the rules.This autumn we are delighted to offer four works that convey Sottsass’ diverse and bold practice throughout his career. The Ultragragola mirror, produced for Poltronova, was designed by Sottsass in 1970 as part of the Mobili Grigi - the only piece from the collection to proceed beyond the prototype phase, and possibly one of the most iconic of his early designs. Compared to the Park Lane coffee table, produced for Memphis Milano in 1983, and the eye-catching large Claire de Lune Totem, designed around 1988 for Mirabili, it conveys his ability to master a range of materials and styles and to produce strikingly confident forms instantly recognisable in the history of twentieth-century design.

DEFNE KOZ A glass vase by Dafne Koz for Egizia in association with Sottsass. c.1998. 32cm(h)

Ettore Sottsass (Italian, 1917-2007), a 'Murmansk' centrepiece, designed in 1982 for the Memphis Group, silver-coloured metal, with a circular tray fitted with a detachable dish, supported by six zigzag columns on a circular base, two stamped marks 'Memphis Milano', 36.5cm diameter27.5cm high (2)Condition ReportOverall good order. Minor surface scratches and wear. Please see the additional images.

Red manual typewriter ‘Valentine’ design Ettore Sottsass for Olivetti, 1980sRode handbediende typemachine 'Valentine' ontwerp Ettore Sottsass voor Olivetti, jaren '8035 x 34 x 11.5 cm

Ettore Sottsass (1917-2007)Space Age plastic coat rack with umbrella stand, design Ettore Sottsass, executed by Olivetti, model 'Synthesis', Italy 1970s, 152 cm high

Ettore Sottsass, Spiegel "Ultrafragola"(Innsbruck 1917–2007 Mailand)Entwurf um 1970 für Poltronova, Pistoia. Weisser Kunststoff und Spiegelglas. Beleuchtet. Funktionstüchtig. 195x101x14,5 cm.- Alters- und Gebrauchsspuren. Kunststoff etwas vergilbt.

An Olivetti Valentine portable typewriter, designed by Ettore Sottsass & Perry, in its case. Condition - fair, some wear and scuffing to the plastic body and case

A large post-modern Murano glass sculptural vase in the manner of Ettore Sottsass, 58cm

Ettore Sottsass (1917-2007) - a pair of polychrome aluminium floor lamps, designed by Ettore Sottsass Jr. In the model 'Callimaco', 1980s, both with chrome handles to sides of cylindrical stems, each approx. 201cm high. (2) Further details: both untested, scrape and loss to red paint on top of one, scratching to both, general wear. 

An Alessi of Italy cruet set and bowl, designed by Achille Castiglioni, together with a further two cruet sets, one designed by Ettore Sottsass Jr

Photo portrait Ettore Sottsass Italian architect by Philip Sayer, a founding member of Blueprint magazine, has been a freelance photographer since 1969. He works across a broad range of photographic media, including photojournalism, portraiture, interiors and architectural photography and learnt much of his craft as apprentice to eminent photographer Maurice Broomfield. Sayer has worked extensively for various major UK and international clients, including leading art galleries and museums such as the National Gallery, the Crafts Council, The Royal Academy of Arts and the Victoria & Albert Museum; and for publications including Domus, Crafts and Eye. 40 x 50cm 41 x 51cm (Asset No: ETORI )

Ettore Sottsass, Schreibmaschine "Valentine" für OlivettiEntwurf Ettore Sottsass, 1969, Schreibmaschine "Olivetti Valentine" mit Tragekoffer, roter Kunststoff und Metall, sehr geringe Gebrauchsspuren, sie gilt als Meilenstein des Industriedesigns und findet sich in allen wichtigen Designsammlungen, so auch im Museum of Modern Art in New York, 11,5 x 34 x 35 cm

Ettore Sottsass (Italian, 1917-2007), 'Basilissa', 1972, produced 1974-1976 by Vistosi Murano, the blue incalmo glass body with a green neck, etched 'E. Sottsass 31/250, Vistosi 77' underneath the base,21cm diameter24cm high Provenance: The Estate of Max Clendinning and Ralph Adron.Condition ReportRemnants from trail applications to the rim, and where these have contracted upon cooling and having been flat polished. These are following the line of the joins and are in line with manufacture. With a thin scratch down the neck that traces onto the body. With later applied felt feet to the base. Additional images uploaded.

Ettore Sottsass (Italian, 1917-2007), 'Veniera', 1972, produced 1974-1976 by Vistosi Murano, the yellow incalmo glass body of cylindrical form, surmounted by a black glass lid, raised on a domed red foot, etched 'E. Sottsass 31/250, Vistosi 77' underneath the base,22cm diameter28cm high Provenance: The Estate of Max Clendinning and Ralph Adron.Condition ReportNo chips, cracks or restoration. Some surface scratches to the underside of the foot rim.

Ettore Sottsass (Italian, 1917-2007), 'Tosca', 1996, a painted stoneware vase, produced in 1997 by Flavia Montelupo, for Édition Limitée, Paris, the gilt neck with red painted rim, raised on a white cylindrical base, signed and dated to the base 'E. Sottsass, 1997',19.5cm diameter36cm high Provenance: The Estate of Max Clendinning and Ralph Adron.Condition ReportNo chips, cracks or restoration. Minor surface marks. Please see the additional images.

Ettore Sottsass (Italian, 1917-2007), a ‘Gopuram’ side table, designed in 1988 as part of the Bharata series, lacquered in polychrome, unlabelled, 40cm wide 40cm deep 40.5cm high, together with a pedestal, late 20th century, designed by Max Clendinning (1924-2020) and Ralph Adron (1939-2023), the circular top raised on a turned support, terminating on to a stepped foot, 38cm wide 38cm deep 85cm high top 33.2cm diameter (2) Provenance: The Estate of Max Clendinning and Ralph Adron, the latter made for the artists' home in Italy. Condition ReportThe Gopuram table with some knocks to the base, and some some minor wear to the edges. The MC pedestal with some scratches to the top. The turned stem with some knocks in places. Additional images uploaded.

Ettore Sottsass (Italian, 1917-2007). 'Y28', a stoneware vase, originally designed c.1969 for the 'Yantra di Terracotta series', EAD edition published c.1990, of stepped wedged form, decorated in a white enamel glaze, unsigned, 35cm wide12cm deep38cm highProvenance: The Estate of Max Clendinning and Ralph Adron.Condition ReportWith a hairline crack to the side. One of the corners of the foot with a chip. One corner with a chip. WIth a filled chip to one edge. With general scuffs and marks, the glaze rubbed in areas. Would benefit from a clean. Additional images uploaded.