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Click here to subscribeEttore Sottsass and Perry King for Olivetti, 1969, a Valentine typewriter, in the original carry case CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
a chest of eighteen drawers with a curved body of teinted ash and painted wood, brushed steel on wheels; overall dimensions: 170.5 (h) x 45 (w) x 50 (d) cm (67 1/8 (h) x 17 3/4 (w) x 19 3/4 (d) in.), dimensions of drawers: 38.5 (l) x 37.5 (w) x 7 (d) cm (15 1/8 (l) x 14 3/4 (w) x 2 3/4 (d) in.), please note variant depths for the drawers, between 7 cm (2 3/4 in.) and 6 cm (2 3/8 in.)LITERATUREThe Work of Shiro Kuramata: 1967-1974 (Tokyo: Parco, 1988), pp. 45-47Shiro Kuramata 1934-1991 (Tokyo: Hara Museum of Contemporary Art, 1996), ex. cat., pp. 45, 48, 130David A. Hanks, Anne Hoy and Martin Eidelberg, Design for Living: Furniture and Lighting 1950-2000, The Liliane and David M. Stewart Collection (Montreal: Montreal Museum of Decorative Arts, 2000), ex. cat., pp. 128-29Shiro Kuramata and Ettore Sottsass (Tokyo: 21_21 Design Sight, 2011), ex. cat., pp. 30, 169Deyan Sudjic, Shiro Kuramata (New York: Phaidon Press, 2013), pp. 154, 255CONDITIONIn good condition. Minor scuffing and light surface scratches, consistent with use and age.
Shiro Kuramata (Japanese, 1934-1991) for Cappellini, Furniture in Irregular Forms, Side 1, designed 1970, black stained ash and white laminate, numbered 55 from an unknown edition, with certificate of authenticity dated 29 September 1988170.5cm high Literature:The Work of Shiro Kuramata: 1967-1974, Kuramata, ppg. 45-47 Shiro Kuramata: 1967-1987, Isozaki, ppg. 17-18 Shiro Kuramata 1934-1991, Hara et al., ppg. 45, 48, 130 Shiro Kuramata and Ettore Sottsass, 21_21 Design Sight exhibition catalog, ppg. 30, 169 Shiro Kuramata, Sudjic, ppg. 154, 255 Footnote: Described as a ‘poet of material and form’, Shiro Kuramata is internationally regarded as one of the most influential and innovative Japanese designers of the 20th century. Born in Tokyo in 1934, Kuramata graduated from Tokyo Technical College before training as a cabinet maker at the Kuwasawa Institute of Design in Tokyo. By 1965, Kuramata had established his own design studio, Kuramata Design Office, where he worked alongside leading Japanese creative figures such as Jiro Takamatsu andTadao Ando. In 1981, Kuramata was invited by the pioneering Italian designer and architect, Ettore Sottsass, to be a founding member of the Memphis Group. Combining traditional Japanese aesthetic principles, with distorted and subverted tropes of Western design, Kuramata’s playful and neoteric designs elevate objects of the everyday, creating unexpected and often humorous forms. Condition report: In good condition, a few minor scuffs and marks from use, a little grubby but in good overall condition.
ETTORE SOTTSASS (Austria, 1917 - Italy, 2007) for FONTANA ARTE.Blue glass vase, 1980s.Glass.Measurements: 23 x 18 x 8 cm.The Austrian creator Ettore Sottsass revolutionised the history of design by applying his daring, anti-rationalist aesthetic concept to all the areas in which he excelled: industrial design, furniture, architecture and glass."The idea of designing a glass composed of pieces joined together, in one way or another, pieces of glass of different colours, different thicknesses, different opacities and transparencies, different shapes and origins, gave me great freedom of drawing and I could imagine unexpected balances of structures".An example of these ideas materialised is this particular glass vase-sculpture made from pure, geometric forms for Fontana Arte.Similar examples were published in Skira's book "Ettore Sottsass Il Vetro" on page 195 Sottsass for Fontana Arte 1980.Sottsass's design is a vindication of kitsch as high culture applied to furniture and design objects, it was indebted to his travels: living in New York he had immersed himself in pop art and, after his various and recurring visits to India, he ended up inheriting the chromatic joy of Hindu temples and statuary. He thus established a postmodernist pattern that would have great impact and would oppose the rigidity of traditional rationalism.
A pair of 'Valigia' table lamps,designed by Ettore Sottsass (1917-2007) for Stilnovo, labelled, 33.5cm wide23.5cm deep37cm high (2)Condition report: Some minor dents occurring to both shades. Some scratching to the inside of the shades and the red tubular bases. Some staining to the inside of the shade to both. PAT testing failed.
ETTORE SOTTSASS (Austria, 1917 - Italy, 2007).Dividing furniture "Carlton".Edition Memphis s.r.l., Milan, 1981.Wood and laminated plastic.Measurements: 197 x 190 x 41 cm.Work reproduced in the book "Le mobilier du XX siècle", by Pierre Kjellberg (France; Amateur, 1996); in "Furniture design in the 20th century", by Sembach, Leuthäuser and Gössel, p. 215 (Cologne; Benedikt Taschen, 1988); in "El diseño de los 80", by Bangert and Armer, p. 17 (Madrid; Nerea) and in other monographs on contemporary design.Other examples of this same design are held in prominent collections around the world, including the Metropolitan Museum in New York.Sottsass is not only one of the most influential designers of the second half of the 20th century, but also one of the most paradoxical. On the one hand he developed a successful career making industrial designs for the Olivetti firm, from typewriters and computers to office interiors, and on the other he created striking and unconventional objects that challenge the bourgeois clientele to redraw their concept of the limit of "good taste". Between 1981 and 1988, Sottsass created markedly nonconformist furniture together with a small group of international architects, with whom he formed the Memphis group. The totemic "Carlton", a groundbreaking concept of dividing furniture, is a spectacular example of his Memphis designs. Although intended for the luxury market and manufactured with high quality, it is made of laminated plastic, a very cheap material that replaces hardwoods. The bright colors, as well as the seemingly random dialogue of full and empty, are close to avant-garde painting and sculpture. However, a characteristic feature of Sottsass' work is noticeable: beneath the shiny surface lies a completely logical structural system, based on real and implicit equilateral triangles.The "Carlton" model was, together with the "Casablanca" sideboard, Sottsass' contribution to the first Memphis collection (1981).Ettore Sottsass was a prominent Italian architect and designer of the second half of the 20th century, founder of the Memphis design group. He studied at the Polytechnic University of Turin, and after serving three years in the army, in 1947 he set up his own office in Milan, called "The Studio". He worked as a design consultant for Olivetti for more than twenty years, creating for the firm the "Valentina" typewriter (1969), which revolutionized the market, and the "Elea 9003" calculator, among other classic designs. He was also internationally known as an architect, involved in numerous projects around the world. Throughout his career he collaborated with leading figures in the world of architecture and design, such as Aldo Cibic, James Irvine and Matteo Thun. In 1981 he founded the Memphis Group, of which he would become one of the leaders, together with Barbara Radice. Sottsass enjoys international prestige thanks to his pioneering work in the renewal of design and architecture, which has managed to overcome the severe functionalism that preceded and followed World War II. In his language, this influential master of Italian design puts the potential energy and vitality of design and color before rigidity and intellectuality. He is currently represented at MoMA and the Metropolitan in New York, the Design Museum in London, the Centre Pompidou in Paris and the Art Institute of Chicago, among others.
GIOVANNI SCHIANO, (Naples, 1976)"Drab days and coloured minds 6".Ceramic totem.Fire glazed ceramic sculpture.149 pieces.Hand signed.Measurements: 50 x 12 cm.Giovanni Schiano is a well-known haute couture photographer as well as painter, sculptor and designer. Trained in the world of graphic design and photography, he has developed a set of artistic and technical skills inspired by the rich tradition of Italian art and design.So much so, that Schiano's sculpture and design are particularly inspired by Ettore Sottsass, founder of the Memphis Group design movement active in the 1980s, and known for his colorful and vibrant design with a good dose of whimsy. The geometry that is part of Bridget Riley's Optical Art, but also the boldness of MimmoRotella and Mario Schifano, without ever leaving aside the decadent and melancholic imprint of JanezBernik, are some figures that have served as inspiration for the creation of new artistic pieces by the artist Schiano.His three-dimensional creations incorporate vigorous color, lines and geometric shapes that come together to create compositions that both confuse and delight the eye. In terms of material, many of his sculptures are made with contemporary elements such as Plexiglas, but he also works with older ones such as ceramics and wood.Schiano's fabulous work has been exhibited in galleries in major cities around the world, Art Sawa in Dubai, Osi Modern in London, Liu Chang Gallery in China and galleries in New York, Paris, Los Angeles and Miami, Brussels, Berlin and even Tokyo. Without leaving behind his work as a photographer and passionate about the world of fashion, Schiano collaborates with famous magazines such as Vogue, Glamour, Jam Magazine or ID.
GIOVANNI SCHIANO, (Naples, 1976)"Atomium"69 specimens.Cast methacrylate sculpture, laser cut and assembled by hand.Hand signed.Measurements: 30 x 30 cm.Giovanni Schiano is a well-known high fashion photographer as well as painter, sculptor and designer. Trained in the world of graphic design and photography, he has developed a set of artistic and technical skills inspired by the rich tradition of Italian art and design.So much so, that Schiano's sculpture and design are particularly inspired by Ettore Sottsass, founder of the Memphis Group design movement active in the 1980s, and known for his colorful and vibrant design with a good dose of whimsy. The geometry that is part of Bridget Riley's Optical Art, but also the boldness of MimmoRotella and Mario Schifano, without ever leaving aside the decadent and melancholic imprint of JanezBernik, are some figures that have served as inspiration for the creation of new artistic pieces by the artist Schiano.His three-dimensional creations incorporate vigorous color, lines and geometric shapes that come together to create compositions that both confuse and delight the eye. In terms of material, many of his sculptures are made with contemporary elements such as Plexiglas, but he also works with older ones such as ceramics and wood.Schiano's fabulous work has been exhibited in galleries in major cities around the world, Art Sawa in Dubai, Osi Modern in London, Liu Chang Gallery in China and galleries in New York, Paris, Los Angeles and Miami, Brussels, Berlin and even Tokyo. Without leaving behind his work as a photographer and passionate about the world of fashion, Schiano collaborates with famous magazines such as Vogue, Glamour, Jam Magazine or ID.
Shire, Peter (geb. Los Angeles 1947) Glasobjekt "Vesuvio". Mehrfarbiges Glas aus verschmolzenen oder verklebten Einzelteilen. Min. best. Sign. P. Shire x Vistosi, Ex. 1/4. Ausführung Vetreria Vistosi, Murano, um 1988. H. 27,5 cm. Amerikanischer Designer, Ausbildung am Chouinard Institute in Los Angeles zum Keramiker, 1972 Gründung eines eigenen Ateliers. In den 70ern durch Sottsass initiierte Zusammenarbeitet mit der Mailänder Memphis-Gruppe, es entstehen neben Keramiken auch Objekte aus Glas und Metall sowie Möbel.
Ettore Sottsass (Italian 1917-2007), a model 'ET4' ceramic table centre piece for Alessio Sarri,c.1985, painted marks to underside 'Ettore Sottsass' & 'A. Sarri',A white glazed ceramic centrepiece, with four irregular rectangular sides, on square base,12.5cm high, 25cm square Please refer to department for condition report
Sottsass, Ettore, 1917 in Innsbruck; † 2007 in Mailand, italienischer Architekt und Designer: East Side Sessel für Knoll int., 1980er Memphis DesignEast Side Sessel von Ettore Sottsass für Knoll, 1980er Metall verchromt, orig. Stoffbezug in Schwarz mit Benutzungsspuren, Breite 80cm, Tiefe 80cm, Höhe 85cm, Sitzhöhe 42cm. 2011 gewann Knoll den Cooper Hewitt National Design Award des Smithsonian Design Museums in New York für korporative und institutionelle Errungenschaften. Mit diesem Preis wurden Knolls Erbe des amerikanischen modernen Designs und das Engagement für die Förderung der Balance aus gutem Design und Lebensqualität geehrt. Die Entwürfe Knolls können in Dauerausstellungen auf der ganzen Welt gefunden werden. Allein 30 davon wurden vom New Yorker Museum of Modern Art erwoben.
Sottsass, Ettore (1917 Innsbruck - Mailand 2007) Früchteschale, Modell "Murmansk". Messing, versilbert. Kratzer, Deckel l. gedellt. Entwurf von 1982. Herstellerstempel Memphis, Milano. H. 29, D. 36 cm. Vgl. H. Höger, "Ettore Sottsass Jun.: Designer, Artist, Architect". Tübingen/Berlin, 1993, S. 187, dort Abb. von ähnlicher Ausführung.
Ettore Sottsass Jr.'Max' sideboard, 1987Plastic laminated-wood, painted wood, terrazzo, acrylic.224 x 126 x 33 cmManufactured by Memphis, Milan, Italy. Base with manufacturer's plastic label printed MEMPHIS/MILANO/E. SOTTSASS/1987/MADE IN ITALY.Footnotes:ProvenanceGallery Copi, Amsterdam, 1990Acquired from the above Thence by descent to the present ownerExhibition'Memphis 1981-1988', Groninger Museum, 26 November 1989-14 January 1990'Memphis 1981-1988', Stedelijk Museum, 26 January 1990-11 March 1990'Memphis 1981-1988', Museum voor Sierkunst, March-May 1990'Memphis 1981-1988', Kestner Museum, May-July 1990'Memphis 1981-1988', Badischer Kunstverein, October-November 1990LiteratureMemphis Milano, Milan, 1980s, p. 1Poul ter Hofstede, Memphis 1981-1988, exh. cat., Groninger Museum, Groningen, 1989, illustrated cat. no. 32Michael Collins and Andreas Papadakis, Post-Modern Design, New York, 1989, p. 56This 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 Jr.'Diva' mirror, 1984 Mirrored glass, plastic-laminated wood. 109.5 x 76 x 4 cmManufactured by Memphis, Milan, Italy. Base with manufacturer's plastic label printed MEMPHIS/MILANO/E. SOTTSASS/1984/MADE IN ITALY.Footnotes:ProvenanceGallery Copi, Amsterdam, 1990Acquired from the above Thence by descent to the present ownerExhibition'Memphis 1981-1988', Groninger Museum, 26 November 1989-14 January 1990'Memphis 1981-1988', Stedelijk Museum, 26 January 1990-11 March 1990'Memphis 1981-1988', Museum voor Sierkunst, March-May 1990'Memphis 1981-1988', Kestner Museum, May-July 1990'Memphis 1981-1988', Badischer Kunstverein, October-November 1990LiteratureDomus, no. 657, January 1985, p. 63Memphis Milano, Milan, 1986, p. 78Gilles de Bure, Ettore Sottsass Jr, Marseille, 1987, coverPoul ter Hofstede, Memphis 1981-1988, exh. cat., Groninger Museum, Groningen, 1989, illustrated cat. no. 60Lot to be sold without reserve.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
Eugenio/Angelo Orefice Milano 2 candlesticks, silverEugenio/ Angelo Orefice, Mailand2 Kerzenleuchter. 3-flammige Form. Vegetabil geformter Korpus mit reliefiertem Martellédekor in der Art des Sottsass/ Memphis Bacterio-Dekors. Silber, patiniert. 47,5 x 23 x 7 cm. Am Boden bezeichnet: 800 509MI 800. Eugenio/Angelo Orefice Milano 2 candlesticks, silverEugenio/ Angelo Orefice, Mailand2 candlesticks. 3-flame form. Vegetable-shaped body with a Martellé decor in relief in the manner of the Sottsass / Memphis Bacterio decor. Silver, patinated. 47.5 x 23 x 7 cm. Marked on the bottom: 800 509MI 800.
Ettore Sottsass, Memphis, Bookshelf CasablancaEttore SottsassMemphis, MilanoDesign 1981Regal Casablanca. Entwurf 1981. Oberflächen in Laminat in Schwarz und mit Dekor Spugnato in Gelb, Rot und Weiß. Im Zentrum Korpus mit 2 Türen, dahinter Einlegböden, darunter 2 Schubladenfächer und 1 Fach mit Klapptür. Seitlich Regalböden. 230 x 160 x 39 cm.Literatur: Radice, Barbara, Memphis Design. München 1982, S. 37, Abb. Ettore Sottsass, Memphis, Bookshelf CasablancaEttore SottsassMemphis, MilanoDesign 1981Shelf Casablanca. Design 1981. Laminate surfaces in black and with Spugnato decor in yellow, red and white. In the center body with 2 doors, behind them shelves, including 2 drawer compartments and 1 compartment with flap door. Side shelves. 230 x 160 x 39 cm.Literature: Radice, Barbara, Memphis Design. München 1982, S. 37, Abb.
Arianna, Ettore Sottsass, Memphis MilanoEttore SottsassToso Vetri D'Arte für Memphis, Milano1986Tafelaufsatz/ Centerpiece Arianna. 1986. Farbloses und grünes opak weißes Glas. H. 48,7 cm. Auf dem Fuß bezeichnet: E.SOTTSASS PER MEMPHIS by TOSO VETRI D'ARTE PROVA D'AUTORE (graviert).Literatur: Memphis. Céramique, Argent, Verre. 1981-1987. Katalog Ausstellung Musées de Marseille 1991, S. 112, Nr. 70. Arianna, Ettore Sottsass, Memphis MilanoEttore SottsassToso Vetri D'Arte für Memphis, Milano1986Centerpiece Arianna. 1986. Colorless and green opaque white glass. H. 48.7 cm. Inscribed on the foot: E. SOTTSASS PER MEMPHIS by TOSO VETRI D'ARTE PROVA D'AUTORE (engraved).Literature: Memphis. Céramique, Argent, Verre. 1981-1987. Katalog Ausstellung Musées de Marseille 1991, S. 112, Nr. 70.
Clesitera, Ettore Sottsass, Memphis MilanoEttore Sottsass, 1917-2007Toso Vetri D'Arte für Memphis, Milano1986Tafelaufsatz/ Centerpiece Clesitera. 1986. Hellgrünes, rosafarbenes schwarzes, rotes, türkisfarbenes und grünes Glas. H. 50,5 cm. Am Fuß bezeichnet: E.SOTTSASS PER MEMPHIS by TOSO VETRI D'ARTE (graviert).Literatur: Memphis. Céramique, Argent, Verre. 1981-1987. Katalog Ausstellung Musées de Marseille 1991, S. 122, Nr. 89. Clesitera, Ettore Sottsass, Memphis MilanoEttore Sottsass, 1917-2007Toso Vetri D'Arte für Memphis, Milano1986Centerpiece Clesitera. 1986. Light green, pink black, red, turquoise, and green glass. H. 50.5 cm. Inscribed on the foot: E. SOTTSASS PER MEMPHIS by TOSO VETRI D'ARTE (engraved).Literature: Memphis. Céramique, Argent, Verre. 1981-1987. Katalog Ausstellung Musées de Marseille 1991, S. 122, Nr. 89.
Agesicora, Ettore Sottsass, Memphis MilanoEttore SottsassToso Vetri D'Arte für Memphis, Milano1986Tafelaufsatz/ Centerpiece Agesicora. 1986. Gelbes, grünes, rotes und opak weißes und schwarzes Glas. H. 50,5 cm. Auf dem Fuß bezeichnet: E.SOTTSASS by TOSO VETRI D'ARTE PROVA D'AUTORE (graviert).Literatur: Memphis. Céramique, Argent, Verre. 1981-1987. Katalog Ausstellung Musées de Marseille 1991, S. 120, Nr. 85. Agesicora, Ettore Sottsass, Memphis MilanoEttore SottsassToso Vetri D'Arte für Memphis, Milano1986Centerpiece Agesicora. 1986. Yellow, green, red and opaque white and black glass. H. 50.5 cm. Inscribed on the foot: E. SOTTSASS by TOSO VETRI D'ARTE PROVA D'AUTORE (engraved).Literature: Memphis. Céramique, Argent, Verre. 1981-1987. Katalog Ausstellung Musées de Marseille 1991, S. 120, Nr. 85.
Ettore Sottsass, Vase Moceniga, Vistosi MuranoEttore SottsassVetreria Vistosi, Murano1977Vase Moceniga aus der Serie Rovine. 1977. Gelbes und schwarz-violettes Glas. H. 20,7 cm, D. 23,5 cm. Am Boden bezeichnett: E.SOTTSASS 7/250 VISTOSI 77. Aus einer Edition von 250 Exemplaren aus der Serie Rovine, für die Sottsass zehn Modelle für Vistosi entwarf. Hier das Stück mit der Nummer 7.Literatur: R. Barovier Mentasti, Vetro Veneziano 1890-1990, Venedig 1992, S. 30. Ettore Sottsass, Vase Moceniga, Vistosi MuranoEttore SottsassVetreria Vistosi, Murano1977Moceniga vase from the Rovine series. 1977. Yellow and black-purple glass. H. 20.7 cm, D. 23.5 cm. Marked on the bottom: E. SOTTSASS 7/250 VISTOSI 77.From an edition of 250 copies from the Rovine series, for which Sottsass designed ten models for Vistosi. Here the piece with the number 7.Literature: R. Barovier Mentasti, Vetro Veneziano 1890-1990, Venedig 1992, S. 30.
Ettore Sottsass A. Sarri Anthologie Quartett Teapot LapislazuliEttore SottsassAlessio Sarri, Sesto Fiorentino für Anthologie Quartett1988Teekanne Lapislazuli aus der Serie Indian Memories. 1988. Keramik, matt mintgrün glasiert. Am Boden bezeichnet: E.SOTTSASS und Firmenmarke A. Sarri, datiert 1988 (schwarz) und Firmenmarke (Blindstempel), nummeriert No. 087. Ettore Sottsass A. Sarri Anthologie Quartett Teapot LapislazuliEttore SottsassAlessio Sarri, Sesto Fiorentino für Anthologie Quartett1988Lapislazuli teapot from the Indian Memories series. 1988. Ceramic, glazed matt mint green. Inscribed on the bottom: E. SOTTSASS and company brand A. Sarri, dated 1988 (black) and company brand (blind stamp), numbered No. 087.
Sottsass & du Pasquier 2 Chairs Lodge in Memphis FabricEttore Sottsass & Nathalie du PasquierBieffeplast / RainbowDesign 1986, 19822 Stühle Modell Lodge. Entwurf 1986, 1982. Lackiertes und verchromtes Metall, Mamphis Stoff mit Dessin Gabon. 75 x 50/56 x 56 cm.Literatur: Barbara Radice, Memphis Design, Mailand 1984, Abb. S. 93. Sottsass & du Pasquier 2 Chairs Lodge in Memphis FabricEttore Sottsass & Nathalie du PasquierBieffeplast / RainbowDesign 1986, 19822 chairs model Lodge. Designed 1986, 1982. Lacquered and chrome-plated metal, Mamphis fabric with Gabon design. 75 x 50/56 x 56 cm.Literature: Barbara Radice, Memphis Design, Mailand 1984, Abb. S. 93.
Ettore Sottsass, Artemide, Table Lamp PausaniaEttore Sottsass, 1917-2007Artemide, MailandDesign 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, Artemide, Table Lamp PausaniaEttore Sottsass, 1917-2007Artemide, MailandDesign 1983Table lamp model Pausania. Designed in 1983. Plastic, chrome-plated metal, perforated sheet metal. 42 x 48 x 11 cm. Marked with Artemide sticker.Literature: Julia Capella, Quim Larrea, Architekten Designer der achtziger Jahre. Barcelona 1987, S. 144.
Full title: Ettore Sottsass (1917-2007): 'Deneb' Murano glass vase, for Memphis by Toso Vetri d'Arte, [1982]Description: H 20,8 cmÊ Ê The foot of the Murano glass vase engraved 'Memphis Milano by Toso Vetri d'Arte'.Condition:Please contact us to let us know which lots are of interest, so we can make the requested report for you.Once complete, it 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
Alessandro Mendini (Italian 1913-2019), an 'Ollo' stainless wrist watch for Studio Alchimia c.1980, incised to reverse 'Alchimia' The stainless steel case with glass crystal, encasing polychrome geometric design dial, with black and purple polyester strap Dial - 32cm diameter not including crown Property from a Private Collection NOTE: Studio Alchimia was a design collective founded, pre-Memphis, in 1976 in Milan by Alessandro Guerriero and his sister Adriana Guerriero-Reali. Designers Alessandro Mendini, Ettore Sottsass, Michele De Lucchi, Bruno and Giorgio Gregori, Paola Navone, Daniela Puppa, Andrea Branzi, and Franco Raggi all contributed to the work of the group. They encompassed Architecture, theatrical design, decorative arts, product and clothing designs and their ethos was at counterpoint to the aesthetic of the Bauhaus and the other industrial and minimalist designers. They were interested in a colour and the play between forms and were happy to embrace modern technologies. The Studio Alchimia closed in 1992. Condition reportThe watch works but we have not checked its time keeping. There is some light wear to the front of the metal casing, the glass face is good. There is wear - some scratches to the back - and were the back has been removed in the past there is some lifting/indentations to the edge. The strap has some wear and a few loose threads.Please note Rosebery's do not guarantee the working condition, duration or timekeeping of clocks & watches offered for sale.
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