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Ettore Sottsass TAHITI Table Lamp for Memphis Milano

Name: Ettore Sottsass TAHITI Table Lamp for Memphis Milano
Brand: Ettore Sottsass
Price: 1390 USD
Availability: InStock

About the Item

The ultimate Sottsass table light!! Anthropomorphic (looks like a parrot) as the head (w/ lamp) swivels up and down. Designed for the inaugural 1981 MEMPHIS exhibition, this lamp harkens to the movement's purest moments. The Sottsass-designed "Bacteriae" laminate on the base reinforces its "MEMPHIS" demeanor! An appendage at the back in an unusual brown serves as a handle, and a stainless grip pivots the lamp's head. Sottsass, the consummate madcap industrial designer --- gone wild!! Pure undistilled humor & fun!!

Creator:

Ettore Sottsass (Designer)

Dimensions:

Height: 24 in (60.96 cm)Width: 14 in (35.56 cm)Depth: 4.5 in (11.43 cm)

Power Source:

Plug-in

Voltage:

110-150v

Style:

Post-Modern (In the Style Of)

Materials and Techniques:

Laminate,Metal,Wood

Place of Origin:

Italy

Period:

1980-1989

Date of Manufacture:

2023

Condition:

Pristine & perfect, museum-worthy, new in the original MEMPHIS box.

Seller Location:

Brooklyn, NY

Reference Number:

1stDibs: LU1539226380392

View Invoice

Shop All Ettore Sottsass

Ettore Sottsass

An architect, industrial designer, philosopher and provocateur, Ettore Sottsass led a revolution in the aesthetics and technology of modern design in the late 20th century.

Sottsass was the oldest member of the Memphis Group — a design collective, formed in Milan in 1980, whose irreverent, spirited members included Alessandro Mendini, Michele de Lucchi, Michael Graves and Shiro Kuramata. All had grown disillusioned by the staid, black-and-brown “corporatized” modernism that had become endemic in the 1970s. Memphis (the name stemmed from the title of a Bob Dylan song) countered with bold, brash, colorful, yet quirkily minimal designs for furniture, glassware, ceramics and metalwork. They mocked high-status by building furniture with inexpensive materials such as plastic laminates, decorated to resemble exotic finishes such as animal skins. Their work was both functional and — as intended — shocking. Even as it preceded the Memphis Group's formal launch, Sottsass's iconic Ultrafragola mirror — in its conspicuously curved plastic shell and radical pops of pink neon — embodies many of the collective's postmodern ideals.

Sottsass's most-recognized designs appeared in the first Memphis collection, issued in 1981 — notably the multihued, angular Carlton room divider and Casablanca bookcase. As pieces on 1stDibs demonstrate, however, Sottsass is at his most imaginative and expressive in smaller, secondary furnishings such as lamps and chandeliers, and in table pieces and glassware that have playful and sculptural qualities.

It was as an artist that Ettore Sottsass was celebrated in his life, in exhibitions at the Los Angeles County Museum of Art, in 2006, and the Philadelphia Museum of Art a year later. Even then Sottsass’s work prompted critical debate. And for a man whose greatest pleasure was in astonishing, delighting and ruffling feathers, perhaps there was no greater accolade. That the work remains so revolutionary and bold — that it breaks with convention so sharply it will never be considered mainstream — is a testament to his genius.