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Del Campo 1980s Enamel Cloud Bowl


A wonderful 1980s enamel decorative bowl on copper by the famed firm, Studio Del Campo. The design is attributed to Ettoree Sottsass. Signed. Biography: Studio Del Campo in Turin, Italy (1957-1998), was a collaborative name shared by craftsmen-artists Virgilio Bari, Euclide Chiambretti, Lidia Lanfranconi, and Bianca Tuninetto. Characteristics of their enamel works were the extreme precision of the finishes and the use of silver leaf under glazes, as well as searching for new designs and new forms. Always able to bring attention to the quality of their works, they agreed to work only for prestigious designers such as Gio Ponti and the architects Toni Cordero and Ettore Sottsass. Virgilio Bari was also an independent painter and sculptor.


  • Date of Manufacture
  • Period
  • Materials and Techniques
  • Condition
  • Dimensions
    H 7.58 in. x W 7.63 in. x D 1 in.H 19.26 cm x W 19.39 cm x D 2.54 cm
  • Seller Location
    New York, NY
  • Item Location
    1stdibs GalleryNew York, NYMore Information
  • Reference Number
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About Ettore Sottsass (Designer)

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.

     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 these pages 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.

About the Seller

5 / 5
1stdibs seller since 2004
Located in New York, NY
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