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Alaska Vase by Ettore Sottsass in 1982 for Memphis

$3,900Asking Price

About

The Alaska is a flower vase in silver brass. It is one of the first designs produced by Sottsass for Memphis in 1982. Measures: H. 30 cm. Executed by Rossi e Arcandi, Monticello Conte Otto, Vicenza for Memphis, Milan. Brass, asymmetric several parts assembled, soldered, sometimes hammered surface, silver plated. Marked:. MEMPHIS MILANO (two-line embossing). Literature Barbara Radice, Memphis, Munich 1988, page 120.

Details

  • Creator
    Ettore Sottsass (Artist),Memphis Group (Manufacturer)
  • Dimensions
    Height: 11.82 in. (30 cm)Diameter: 7.88 in. (20 cm)
  • Style
    Modern (Of the Period)
  • Materials and Techniques
  • Place of Origin
  • Period
    1980-1989
  • Date of Manufacture
    1982
  • Condition
  • Seller Location
    Zurich, CH
  • Reference Number
    1stDibs: LU171626081883

About the Artist

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.

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