We found 528 price guide item(s) matching your search

Ettore Sottsass (1917-2007)Polychrome aluminum floor lamp in Memphis style, design Ettore Sottsass Jr. executed by Artemide, model 'Callimaco' and marked on the bottom, Italy design year 1982, later version, 201 cm high

Tafelaufsatz "Gaya Bowl",Up & Up Editions um 1985. Entw.: Ettore Sottsass. Carrara-Marmor, rosa Marmor, Kupfer. Kelch in breiter Ring-Rahmung, überfangen v. gr. Kupfer-Bogen. Auf Rundfuß m. kl. Säulen. Oberflächen leicht berieben, Marmor im oberen Teil leicht bestoßen. D 38,5 cmEttore Sottsass, Italien, Marmor, Memphis

Rechteckiger Wandspiegel m. Konsole,Entw. Ettore Sottsass, wohl 1980/90er Jahre. Weißer, rosafarbener u. gelb-schwarz gesprenkelter Marmor. Konsole sign. L 62, B 68,5 cm. Gebrauchsspuren

Rechteckiger Wandspiegel m. Konsole,Entw. Ettore Sottsass, wohl 1980/90er Jahre Weißer, rosafarbener u. beige-schwarz gesprenkelter Marmor. Konsole abgetreppt. 70 x 80,5 cm. Gebrauchsspuren

Ettore Sottsass (1917-2007) for Poltronova 'Loto' table, circa 1965  Marble, lacquered metal  Partial manufacturer's label to underside  70cm high, 120cm diameter  Literature  Phillipe Thome, 'Sottsass', Phaidon, 2022, p.198, see similar example illustrated  Hans Höger, 'Ettore Sottsass: Designer, Artist, Architect', Ernst Wasmuth Verlag, 1993, p. 80 Domus 433, December 1965, p. 42 

Ettore Sottsass (1917-2007) produced by Bitossi for Galleria Il Sestante Scarce model '183' vase from the 'Ceramiche di Serie' series, circa 1958  Glazed earthenware  Signed to base '183 / Il Sestante / Sottsass'  15cm high Provenance  Private collection, UK Literature  Fulvio Ferrari, 'Ettore Sottsass Tutta la Ceramica', Turin, 1996, p. 85  Fulvio Ferrari, 'Sottsass 1000 Ceramics', AdArte, 2017, p. 72 (Fig 310)  Footnote  Revised from Sottsass' original technical drawing for Bistossi dated January 1957, only a limited number of the original run of 'ceramiche di serie' models were produced. The current lot bears the original model no. with subsequent examples being re-numbered '192' Condition Report: Overall condition good, loss to glaze 5mm x 2mm on the outer foot rim, glaze bubbles to lower section (see additional image), some patches of wear/loss to glaze around the upper and lower black rim of the central section - the largest 9mm x 3mm, a few approx 1mm nibbles to upper red glaze.Additional images available upon request.

Ettore Sottsass (1917-2007) for Emeco Two 'Nine-O' armchairs, circa 2008  Brushed aluminium, polished aluminium, polyurethane seat  Manufacturer's mark to reverse  Each 83cm high, 57.5cm wide 

Sottsass, EttoreInsbruck 1917 - 2007 Mailand, war ein bedeutender italienischer Designer. Paar Stehlampen "Callimaco", Entwurf: 1982, Ausführung: Artemide, Italien, 1980/90er Jahre, grau rot und Goldton lackiertes Metall, verchromter Tragbügel, Halogenbetrieb, dimmbar, Boden mit Herstellerlabel, H: ca. 200 cm. Eine Lampe mit kleinen Dellen im Kegelfuß, ein Kunststoff-Zwischenrig fehlend, ein Ring mit Fehlstelle.

Ettore Sotsass, Bitossi, limitierter Mini TotemEttore SottsassBitossiDesign 1963, Production 1995/96Limitierter Mini Totem. Entwurf 1963, Ausführung 1995/96. Keramik, teilweise farbig glasiert. H. 47 cm, D. 17 cm. Unterseitig bezeichnet '97/150 - E. Sottsass - Bitossi Montelupo Italy'.Provenienz: Privatsammlung Otto Bantele.

Ettore Sottsass, Teekanne Modell Basilica No 101Ettore Sottsass, 1917-20071989Teekanne Modell Basilica. Alessio Sarri, Sesto Fiorentino für Anthologie Quartett, Bad Essen. Steingut, grasgrün glasiert. 21 x 23 x 19 cm. Am Boden bezeichnet, nummeriert und signiert: AS Manufakturmarke (geritzt), No 101 (graviert), E. Sottsass AS 1989 (handschriftlich).

Ettore Sottsass, Bitossi, große VaseEttore SottsassBitossiGroße Vase. Steinzeug, geometrisches Dekor in Schwarz und Weiß. H. 46 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.Provenienz: Privatsammlung Otto BanteleLiteratur: Vgl. dazu: Ettore Sottsass-Keramik. Katalog zur Ausstellung Hetjens Museum, Deutsches Keramikmuseum Düsseldorf 2011/2012, S. 88-91 (Abb.).

Ettore Sottsass, EAD, limitierter Totem Modell AGRA 6/150 in OVPEttore SottsassEAD für Galerie ModernariatoProduction 2000Limitierter Totem Modell AGRA. Ausführung 2000. Farbig glasierte Keramik. H. 56 x D. 19 cm. Bezeichnet mit Ritzung 6/150.

Ettore Sottsass, EAD, limitierter Totem Modell BURMAEttore SottsassEAD für Galerie ModernariatoAusführung 2000Limitierter Totem Modell BURMA. Ausführung 2000. Farbig glasierte Keramik. H. 57 x D. 16,5 cm. Bezeichnet mit Ritzung 6/150 unter dem Sockel. Am Sockel Signatur.

Ettore Sottsass, 2 Deckenleuchten Modell ManifestoEttore SottsassStilnovoDesign about 19702 Deckenleuchten Modell Manifesto. Entwurf um 1970. Lackiertes und verchromtes Metall. H. 82 x D. 24 cm. An der Deckenbefestigung mit 'Stilnovo Italy' bezeichnet.

Ettore Sottsass, Artemide, Tischleuchte Modell PausaniaEttore SottsassArtemideDesign 1983Tischleuchte Modell Pausania. Entwurf 1983. Kunststoff, verchromtes Metall, Lochblech. 42 x 48 x 11 cm. Mit Artemide Aufkleber bezeichnet.Literatur: Julia Capella, Quim Larrea, Architekten Designer der achtziger Jahre. Barcelona 1987, S. 144.

Ettore Sottsass, Fontana Arte, Vase Modell Nr. 2664Ettore SottsassFontana ArteDesign 1979Vase Modell Nr. 2664. Entwurf 1979. Klares und blaues Glas. 26 x 22 x 9,5 cm. Mit 'Fontana Arte' Aufkleber bezeichnet.

NO RESERVE Radice (Barbara) Ettore Sottsass: Leben und Werk, Munich, 1993 § Tatiana Trouvé, Cologne, 2008 § Lara Favaretto, Vancouver, 2015 § Nunzio: The Shock of Objectivity, 2019 § Ceuleers (Jan) Georges Vantongerloo 1886-1965, Antwerp, 1996 § Carlesso (Gianpietro) Nero Africa: Story of a Sculpture, one of 1000 copies, Darmstadt, 1998 § Verzotti (Giorgio) Equilibrium: An Idea for Italian Sculpture, London & Turin, 2018, illustrations, some colour, original cloth or boards, the first with slightly frayed dust-jacket; and c.20 others on Italian modern and contemporary sculpture, 4to & 8vo (c.25)

NO RESERVE Gursky (Andreas) Fotografien 1984 bis heute, Munich, 1998 § Winzen (M., editor) Thomas Ruff 1979 to the Present, Cologne, 2001 § Fricke (Christiane) Jan Saudek, Cologne, 1998 § Poitevin (Eric) Photographies 1981/2014, Brussels, 2014 § Kellner (Thomas) Mexiko, Berlin, 2011 § Schaller (Matthias) Controfacciata, 2008 § Colomina (Beatriz) Thomas Demand, 2006 § Sottsass (Ettore) Walls: 33 Photos, Milan, 1995, illustrations, some colour, the last two original cloth-backed boards, the rest original boards with dust-jackets, the first two a little rubbed; and c.70 others, continental photography, v.s. (3 boxes)

Hochschule für Gestaltung Ulm - - Olivetti. Corporate image department identification systems. Olivetti Servizio di Corporate Image Sistemi di Identificatione. Heft 2, 5-8, 10, 11, 12 und 14. Mit zahlreichen Abbildungen und teils gefalteten Tafeln. Ivrea, OLIVETTI, 1971-77. Lose bzw. durch Lochverstärker geheftete Blätter mit bedrucktem Original-Karton in den roten Original-Kartonschubern, Hefte 7, 8, 10, 11, 12 und 14 in rotem Original-Leinen-Ringordner (Klebestreifen an den Schuberkanten stellenweise etwas gelöst, meist ohne die Lochverstärkungen, Schuber und Ordner teils etwas fleckig).Umfangreiche Sammlung der "roten Bücher", einem Designkompendium mit exakten Regeln für das Corporate Design von Olivetti. - "Der österreichische Industriedesigner Hans von Klier studierte an der Hochschule für Gestaltung in Ulm (HfG) und schloss 1959 mit Diplom ab. 1960 zog es ihn nach Mailand, wo er bis 1968 im Büro von Ettore Sottsass arbeitete und neben Möbeln auch technisches Gerät entwarf. Ab 1969 war von Klier bei der Firma Olivetti für Industriedesign und Corporate Identity zuständig. Er modernisierte das Logo der Firma und brachte zwischen 1971 und 1978 die (hier vorliegenden) "Roten Bücher" heraus - Designhandbücher, in denen alle grafischen Mittel aufgeführt sind, die in der Corporate Identity angewandt wurden (z.B. bei Prospekten, Katalogen, Beschriftungen). 1986 wurden die "Roten Bücher" in die Neue Sammlung in München aufgenommen." (Designlexikon International). - Ordner auf dem Innenspiegel mit montiertem und nummeriertem Druckvermerk, Exemplar 000 und Adresse von Karl Heinz Krug bei der Redaktion der Zeitschrift "Form". - Die 9 Hefte widmen sich den Themen: Basic elements. Logotype, 1971 (2). - Office stationery. Technical publications, 1977 (5). - Product identification. Packing for dispatch, 1971 (6). - Product identification. Packing for supplies, 1971 (7). - Office stationery. Letterheadings, 1971 (8). - Office stationery. Office supplies, 1973 (10). - Transport Identification. Moto verhicles, 1972 (11). - Property Identification. Identification signs, 1974 (12). - Corporate Publicity. Illuminated signs, 1972 (14). - Teils leicht knickspurig, insgesamt sehr gut erhalten. - Beigegeben: Identity. Concessionario / Dealer. Mit 2 Tafeln. Mailand, Olivetti, 1984. 71 S. Original-Kartonage im Original-Pappschuber (Schuber leicht fleckig, oberes Kapital leicht gestaucht). - Seltene einzige Ausgabe, des "grünen Buchs", der Corporate-Design-Richtlinien von Olivetti für Ladengeschäfte. - Unter der Leitung von Hans von Klier u.a. von Pier Paride Vidari und Akira Kimura gestaltet. - Beigegeben: Olivetti corporate identity design. - Donation Olivetti. - Expertengespräch Corporate identity. Die neue Profil-Néurose? 3 Bände. Kataloge zur Ausstellung "Die Neue Sammlung. Staatliches Museum für Angewandte Kunst, München, April 1986. In Original-Kartonmappe (Mappe berieben). - Mit einer Doublette (Donation Olivetti).

2 Reiseschreibmaschinen: Monpti und Valentine1) Monpti, 1968, Hersteller: Zbrojovka Brno NP in Vyškov, Tschechoslowakei, entworfen vom Industriedesigner Stefan Lengyel, Vertrieb in den Karstadt-Warenhäusern, 4-reihige Tastatur, doppelte Umschaltung, rotes Kunststoffgehäuse mit runden Formen. Die Maschine gleitet in das Gehäuse wie eine Schublade. Ein außergewöhnliches Modell in Vintage-Design, ein Jahr vor der berühmten Valentine entworfen. - Und: 2) Valentine, 1969, Olivetti, Italien, legendäre Kunststoff-Schreibmaschine im berühmten Industrie-Design von Ettore Sottsass und Perry A. King, mit Koffer. - Längst Klassiker des Industrie-Designs! Start Price: EUR 180 Zustand: (2-3/2-3)Monpti and Valentine Portable Typewriters1) Monpti, 1968, Zbrojovka Brno NP in Vyškov, Czechoslovakia, invented by industrial designer Stefan Lengyel, sold in Karstadt department stores, 4-row keyboard, double switch, rounded red plastic casing the machine slides into the casing like a drawer, an extraordinary model designed one year before the famous Valentine. - And: 2) Valentine, 1969, Olivetti, Italy, legendary plastic typewriter designed by Ettore Sottsass and Perry A. King, with case. - Symbols of classic industrial design! Start Price: EUR 180 Condition: (2-3/2-3)

§ Ettore Sottsass (Italian 1917-2007) for Il Sestante Vase, circa 1958 stamped IL SESTANTE and paper label milano italy / IL SESTANTE / dis. E. Sottsass (to base), enamelled copper on wooden standDimensions:47.3cm high (18 5/8in high) overallNote: Ettore Sottsass created enamel works of art for the opening of Il Sestante gallery in Milan in 1958. This period in the late 1950s was formative for Sottsass’s design aesthetic, and one of exceptional creativity in colour experimentation and combining different materials. As with this current rare vase, the works he designed for Il Sestante are typified as having high contrast tones and elegant form.

Φ A Memphis Milano Alcor glass vase designed by Ettore Sottsass, made by Compagnia Vetraria Muranese, designed 1983, clear, green and opaque white glass swollen panels, applied with black spiral, blue and golden-brown geometric panels, etched to base rim E Sottsass per Memphis by Compagnia Vetraria Muranese, 49cm. high ProvenanceBonhams Auctioneers, January 1997.The Tom Watkins Collection. LiteratureBarbara Radice, Memphis, Thames & Hudson page 158 for a comparable vase illustrated.

A Memphis Pottery Alzata vase designed by Ettorre Sottsass, shape no.501, footed cup form, screen printed in black and white, painted Sottsass 1986 to base, 22.5cm. high, 24cm. diam. ProvenanceThe Tom Watkins Collection.

Φ A Memphis Milano Freemont cabinet designed by Ettore Sottsass, designed 1985,raised, shelved structure with coloured laminates and gilded columns above twin rectangular door compartment with painted wood finish, on ebonised baseapplied label Memphis E Sottsass, 1985185cm high193cm wide59cm deep ProvenanceModern Design, Christie's South Kensington, 20th October 1999, lot 286The Tom Watkins Collection

Φ A Memphis Milano Sol glass bowl designed by Ettore Sottsass, designed 1982, blue glass bowl on clear stem and red domed base, highlighted with white glass, applied red, green and white supports, the rim with blue glass triangles and red panel, etched E Sottsass Memphis to side, 26cm. high ProvenancePhillips, March 1998The Tom Watkins Collection. LiteratureMemphis Milano, manufacturer's catalogue, 1986, page 77 for this designBarbara Radice, Memphis, Thames & Hudson page 157 for a comparable illustrated.

A post modernist Murano glass candlestick, circa 1985, architectural form with a blue stem and projecting panels, 33cm high Of a similar style to Ettore Sottsass

A post modernist Murano glass table centre piece, circa 1985, architectural form with a wide blue dish above a stepped panelled base and finial tips, 35cm wide, 19.5cm high Of a similar style to Ettore Sottsass

Sottsass, Ettore (1917 Innsbruck - Mailand 2007) Schreibmaschine "Olivetti Valentine" im Gehäuse. Roter Kunststoff und Metall. Alters- und Gebrauchsspuren, Kratzer. Entwurf von 1969, hergestellt durch Olivetti, Italien. Ca. 12x 35x 35 cm.

Luigi Serafini (Rom 1949). Stehlampe 'Diomede'. Artemide. Um 1990. Weißes, rotes und kobaltblaues Glas, Metallgriffe. H. 188 cm. Auf rundem Fuß kobaltblauer Balusterschaft mit Metallgriffen, roter Schirm mit 4 geflügelten Griffen als Deckenfluter - Ital. Architekt, Illustrator und Designer, arbeitete u.a. für das Büro von Ettore Sottsass. Sein bekanntestes Werk ist der Codex Seraphianus von 1981, eine illustrierte Enzyklopädie imaginärer Dinge in einer bisher nicht entzifferten künstlichen Sprache.

ETTORE SOTTSASS (1917-2007) Schreibtisch "Donau" (für MEMPHIS, Milano) Vogelaugen-Ahorn, furniert, eckiger Korpus mit aufklappbarer Schreibplatte und 1 eckigen Aufsatz, im Inneren in Fächer gegliedert und blau lackiert, auf 4 blau lackierten zylindrischen Säulenbeinen, H 111/126cm, B 120cm, T 43cm, leichte Lichtschäden und Gebrauchsspuren, Lack teilweise leicht bestoßen

ETTORE SOTTSASS (1917-2007)Coupe « Murmansk »1982Edition Memphis, estampilléeArgentH: 30cm.(11 13/16in.); D: 35,5cm (13 3/4 in.).A stamped silver « Murmansk » cup by Ettore Sottsass designed in 1982, edited by Memphis.Footnotes:Bibliographie :R.T. Labaco, Ettore Sottsass Architect and Designer, catalogue de production, Ed. Merrell, 2006, p. 67.For further information on this lot please visit Bonhams.com

ETTORE SOTTSASS (1917-2007)Bibliothèque « Carlton »Création en 1981Edition Memphis, plaque de l'éditeurBois et mélaminé polychromeH: 197cm.(77 9/16in.); L: 190cm.(74 13/16in.); P: 40cm.(15 3/4in.).A wood and polychrome melamine « Carlton » bookcase by Ettore Sottsass designed in 1981, edited by Memphis.Footnotes:Bibliographie :P. Thomé, Sottsass, Ed. Phaidon, Londres, 2014, p. 303.G. Gramigna, 1950/1980 Repertorio, Ed. Mondadori, Milan, 1985, p. 512.Provenance:Christie's Amsterdam, Arts décoratifs du XXème siècle, 22 novembre 2006, lot 414Acquis auprès de cette dernière par l'actuel propriétaireThis lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

PETER SHIRE (Né en 1947)Meuble bar « Peter »Création en 1987Edition Memphis, plaque de l'éditeurBois, laminé et métalH: 115cm.(45 1/4in.); L: 108cm.(42 1/2in.); P: 44cm.(17 5/16in.).A « Peter » bar-sideboard by Peter Shire in wood, laminated and metal designed in 1987, edited by Memphis.Footnotes:Bibliographie :Sottsass Associati/Cristoph Radl, Memphis Milano, catalogue, p. 44.Memphis Plastic Field, catalogue d'exposition, Ed. Norma, MADD-Bordeaux, 2020, p. 80.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

A collection of books on studio ceramics including monographs about Walter Keeler, Mike Dodd and Ettore Sottsass (18).Provenance: Kevin de Choisy collection.

ETTORE SOTTSASS (ITALIAN, 1907-2007), an Ashoka lamp, 86.5cm high

Sottsass, Ettore1917, Innsbruck - 2007, Mailand195 x 100 x 15 cmWandspiegel "Ultrafragola" , 1970. Ausführung von Poltronova.Geformter PMMA-Kunststoff, Spiegelglas, Rückwand aus Spanplatte. Alte interne Elektrifizierung (intakt). Mit Wandmontierungen.Ettore Sottsass, ein gebürtiger Österreicher, gilt zweifellos als einer der bedeutendsten Designer des 20. Jahrhunderts. Seine faszinierenden Entwürfe, beispielsweise für den Bürogerätehersteller Olivetti oder dem Designkollektiv Memphis, sind Meilensteine des Designs. Dieser originale "Ultrafragola"-Spiegel aus der 1970er-Serie ist ein sensationelles Beispiel und zählt zu seinen bedeutendsten Kreationen für die italienische Designfirma Poltronova. Zur Entstehungszeit war Sottsass dort als Art Director tätig und experimentierte mit beleuchtetem Fiberglas. Im Rahmen der daraus entstandenen Produktserie Mobili Grigi war der geschwungene, großformatige Wandspiegel einer der herausragenden Entwürfe. Wenn die Neonröhren im Inneren des Spiegels angeschaltet werden, verwandeln sie die in ausgeschaltetem Zustand elfenbeinfarbene Schale in ein atemberaubend leuchtendes Neongelb.Privatbesitz, Baden-Württemberg.Der 'Ultrafragola', mit seiner beleuchteten und geschwungenen Kontur, vermittelt eine transzendente Pop-Spiritualität. Eine subtile Besonderheit ist die Symbolik der Spiegel als Türen zu alternativen Universen, die ein Gleichgewicht zwischen Realität und Illusion suggerieren. Dieses Motiv wurde erstmals im Film 'Orphee' von Jean Cocteau aus dem Jahr 1949 eingeführt, in dem Spiegel den Übergang zwischen der Gegenwart und der Unterwelt repräsentierten.Durch die geschwungene Form des Spiegelrahmens wird zudem stilisiert das Haar einer Frau angedeutet, was dem Design eine zusätzliche ästhetische Dimension verleiht.

Terrazzo - Architecture & Designvon Ettore Sottsass, Barbara Radice, Christoph Radl und Anna Wagner konzipiertes Magazin zu den Themen Architektur & Design, Mailand, 1988-92, Bd. 1-8 von insg. 10 erschienenen Bde., je mit zahlr. tls. farb. und ganzseitigen Abb., je Originalbroschur, Quart. Leichte Altersspuren.

Umeda, Nanaeunbekannt, quadratische Vase mit Farbverlauf, HWC (Handle With Care) Egizia, Sottsass Associati, Italien, 1990er Jahre, farbloses, massives Glas, wandungsumlaufend mit lithografiertem Dekor aus einer gelben Farbfläche mit Punkten und Quadraten, die wiederum in eine Orangefarbene und darunter in eine rote Fläche übergehen und einen Farbverlauf erzeugen, Vase am Stand mit Herstellerbez., am Mündungsrand mit orig. Herstelleraufkleber, H: 31 cm.

Olivetti-Schreibmaschine "Valentin". Roter Kunststoff. Entwurf von Ettore Sottsass, 1968. L. 35 cm.

(1) Ettore Sottsass. Mobili en qualche arredamento. Furniture and a few Interiors. Milan, Philippe Daverio, 1985. Sc w. ill. dust-j. (2) Alexander von Vegesack. Deutsche Stahlrohrmobel: 650 Modelle aus Katalogen von 1927-1958. Munich, Verlag, 1986. Hc w. ill. dust-j. (3) Barbara Radice. Memphis. Ricerche, esperienze, risultati, fallimenti e successi de Nuovo Design. Milan, Electa, 1984. Hc w. ill. dust-j. -and 4 others. (total 7)

Paar 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

Collaboration Ettore SOTTSASS / Perry A. KING pour OLIVETTI Machine à écrire VALENTINE avec son caisson portatif de protectionPlastique rouge 11,5 x 35 x 34 cm

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 (1917 - 2007)An umbrella stand by Ettor Sottsass for Rinnovel. Italy. 54cm(h)

ETTORE SOTTSASS (1917 - 2007)Tahiti lamp by Ettore Sottsass for Memphis Milano with maker's label. Italy, 1981. 37 x 10 x 70cm(h)

§ 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 (Italian 1917-2007) for Stilnovo Pair of 'Doran' Table Lights, designed 1978 glass and enamelled metalDimensions:20.5cm high, the base 19.5cm long, 10cm deep (8 1/4in high, 7 3/4in long, 4in deep)Provenance:ProvenanceThemes & Variations, London.

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 Sottsass for Olivetti - A retro 20th Century 1960s Italian Valentine portable typewriter finished in vibrant orange with black and white keys. Within its original carry case. Measures approx. 12cm x 35cm x 35cm.  

Sottsass, Ettore (1917 Innsbruck - Mailand 2007) Stehleuchte "Erco", einflammig. Kunststoff und Stahl. Zweifach knickbarer Schaft auf Rechteckplatte mit vier Füßen. Entwurf aus dem Jahr 1973, für Erco. Wohl zeitnahe Ausführung. Alters- und Gebrauchsspuren. H. max. 190 cm.

Etorre Sottsass (1917-2007) for EmecoPair of 'Nine-0' side chairs, circa 2007Brushed aluminium, polyurethane seat Cast manufacturer's mark to underside80cm high, 51cm wide

An Alessi La Bella Tavola Ettore Sottsass part dinner service comprising of 8 dinner plates and 8 tea cups and saucers C1993. Plates measure 27cm across. to include two Large cabinet chargers 29cm across, all appear in good condition.

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.

A 'Don' table lamp,designed by Ettore Sottsass for Stilnovo in 1973, labelled, 42.5cm highCondition ReportGood overall. Fitted with a two-pin plug.Further photos added - working with an adapter. Good overall condition. 10.1.23 PAT passed.

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