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"Orgues” Silver Vase by Jacques Sitoleux for Christolfe, 1969

Name: "Orgues” Silver Vase by Jacques Sitoleux for Christolfe, 1969
Brand: Gio Ponti
Price: 5539.98 AUD
Availability: InStock
Rating: 5 (10 reviews)

About the Item

"Orgues” Silver Vase Designed by Jacques Sitoleux for Christolfe 1969 DIMENSIONS Height: 12-1/2 inches Width: 5-1/8 inches Depth: 5-1/8 inches ABOUT VASE The extraordinary geometric and minimalist design of this tubular flower vase sets it apart as a true masterpiece, distinguishing it from all others in its class. Its sleek, refined form captures the essence of modern elegance, with bold yet simple lines that exude sophistication and timeless beauty. This vase, like all creations bearing the name of the legendary designer Jacques Sitoleux, showcases a perfect balance of functional artistry and cutting-edge design. Sitoleux, a visionary of the 20th century, was known for his ability to merge craftsmanship with innovation, and this piece stands as a testament to his remarkable skill. Every curve, every angle in the vase reflects his unwavering commitment to both aesthetic perfection and practical utility, making it not just a decorative object, but a statement of design excellence. Whether standing alone or holding a vibrant bouquet, this vase elevates any space with its elegance, embodying the very spirit of French design and the lasting influence of Jacques Sitoleux. ABOUT ARTIST Jacques Sitoleux was born in Paris, France in 1930. He spent a large part of his youth in a small village named Sambin, in the "Vallée de la Loire" area. He joined Christofle in 1966 as the director of what was to become the Bureau de Création des Modèles (BCM) and he spent his whole career there, retiring in January 1996. In 1969 He created the amazing collection Christofle Contemporain. It was Henri Bouilhet who launched the idea of a new collection. He clarified his intentions in the release note which accompanied the launch in 1969: Christofle should not be only the “Specialist of past styles”; he wanted the pieces for this new collection "to be at the forefront of contemporary trends". In further reference to the new products, he specified: ‘their life span will be... more ephemeral than that of past style pieces... But it is certain that one will note in decades to come that these contemporary pieces will have defined their time’. The collection Christofle Contemporain was launched in October 1969, intended to be avant- garde in reflecting the evolution of ways of living, in techniques and style. The models were to be mass-produced, similar to Christofle’s classic collections and created in silver-plate of the same high quality. To avoid increasing production costs, they had to be manufactured without creating new tools. Christofle manufactures its own tools, whose cost significantly affects the pieces’ sale price. This constraint was to have a strong influence on the aesthetic of the collection.The team of the BCM explored and experimented with the factory’s resources using tubes, sheets, and existing tools. The first models of Christofle Contemporain were created by Sitoleux and Paultre. The former liked to match geometric volumes, the latter favored curves. The vase "Orgues" designed by Jacques Sitoleux in 1969, and illustrated in this article, is a perfect example of the high quality of this collection. Having joined l’Ecole Boulle in 1945, he graduated with a specialist diploma in etching and jewelry and practiced etching all his life. His professional career began in 1952 with the jeweler Mellerio, where he designed jewelry and religious artifacts. He became very close to Albert Bouilhet, with whom he shared a love of life, a sense of humour and a passion for the craft. Curious about everything, an excellent and rigorous draftsman, his sensitivity and his instinct enabled him to create well-structured pieces in which curves, as he said, “run lovingly”. The draftsman Bernard Yot (b.1944), who joined Christofle in 1964, underwent the same training as Sitoleux, with the same specialization in etching and jewelry. [11] It was his first position and he spent his entire career with the company until his retirement in 2006, with a break of three years between 1968 and 1971. He was replaced in April 1968 by François Paultre (b.1944), hired after leaving l’Ecole Boulle, his specialty being wood carving.[13] The following year he joined the Bureau d’Architecture et de Création leaving Christofle in 1972, for a career in jewelry design. Jean-Pierre Hamard (b.1941), whose speciality was steel engraving, also trained at Boulle, where he was in the same class as Yot. He was hired by Christofle in 1969 as a three-dimensional layout artist in goldsmithing, before becoming Sitoleux’s assistant in 1983. That year he left to lead design at the porcelain manufacturer Bernardaud. In this way, a team of young men who all began their professional lives trained by the Ecole Boulle, gathered around Sitoleux.

Creator:

Gio Ponti (Designer)

Dimensions:

Height: 12.5 in (31.75 cm)Width: 5.38 in (13.67 cm)Depth: 5.38 in (13.67 cm)

Style:

Mid-Century Modern (Of the Period)

Materials and Techniques:

Metal

Place of Origin:

Italy

Period:

1960-1969

Date of Manufacture:

1969

Condition:

Wear consistent with age and use. We make our best effort to provide a fair and descriptive condition report. Please examine photos attentively for they are an important part of the description. Send us a message to request more details or discuss price.

Seller Location:

New York, NY

Reference Number:

1stDibs: LU2819342402722

Shop All Gio Ponti

Gio Ponti

An architect, furniture and industrial designer and editor, Gio Ponti was arguably the most influential figure in 20th-century Italian modernism.

Ponti designed thousands of furnishings and products — from cabinets, mirrors and chairs to ceramics and coffeemakers — and his buildings, including the brawny Pirelli Tower (1956) in his native Milan, and the castle-like Denver Art Museum (1971), were erected in 14 countries. Through Domus, the magazine he founded in 1928, Ponti brought attention to virtually every significant movement and creator in the spheres of modern art and design.

The questing intelligence Ponti brought to Domus is reflected in his work: as protean as he was prolific, Ponti’s style can’t be pegged to a specific genre.

In the 1920s, as artistic director for the Tuscan porcelain maker Richard Ginori, he fused old and new; his ceramic forms were modern, but decorated with motifs from Roman antiquity. In pre-war Italy, modernist design was encouraged, and after the conflict, Ponti — along with designers such as Carlo Mollino, Franco Albini, Marco Zanuso — found a receptive audience for their novel, idiosyncratic work. Ponti’s typical furniture forms from the period, such as the wedge-shaped Distex chair, are simple, gently angular, and colorful; equally elegant and functional. In the 1960s and ’70s, Ponti’s style evolved again as he explored biomorphic shapes, and embraced the expressive, experimental designs of Ettore Sottsass Jr., Joe Colombo and others.

Ponti's signature furniture piece — the one by which he is represented in the collections of the Museum of Modern Art in New York, Germany’s Vitra Design Museum and elsewhere — is the sleek Superleggera chair, produced by Cassina starting in 1957. (The name translates as “superlightweight” — advertisements featured a model lifting it with one finger.)

Ponti had a playful side, best shown in a collaboration he began in the late 1940s with the graphic artist Piero Fornasetti. Ponti furnishings were decorated with bright finishes and Fornasetti's whimsical lithographic transfer prints of things such as butterflies, birds or flowers; the Montreal Museum of Fine Arts possesses a 1950 secretary from their Architetturra series, which feature case pieces covered in images of building interiors and facades. The grandest project Ponti and Fornasetti undertook, however, lies on the floor of the Atlantic Ocean: the interiors of the luxury liner Andrea Doria, which sank in 1956.

Widely praised retrospectives at the Queens Museum of Art in 2001 and at the Design Museum London in 2002 sparked a renewed interest in Ponti among modern design aficionados. (Marco Romanelli’s monograph, which was written for the London show, offers a fine overview of Ponti’s work.) Today, a wide array of Ponti’s designs are snapped up by savvy collectors who want to give their homes a touch of Italian panache and effortless chic.

Find a range of vintage Gio Ponti desks, dining chairs, coffee tables and other furniture on 1stDibs.

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