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Tall Bitossi/Raymor Cambogia Vase, Ettore Sottsass, 1950s

About

A tall, imposing midcentury vase, design attributed to Memphis founder Ettore Sottsass (1917-2007) for Bitossi Ceramics and imported by Raymor. This design is from the Rochetto series, 1955-1959. Decorated with bands of richly-colored violet and blue matte and gloss glazed terracotta combined with opaque white craqueling and a gritty black glaze. An unusually large, scarce example of this iconic Bitossi vase. A stunning ceramic work from this period. Model No 1394, retains remnant of original Raymor label.

Details

  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 15 in. x W 4.38 in. x D 4.38 in.

    H 38.1 cm x W 11.13 cm x D 11.13 cm

  • Seller location
    Winnetka, IL
  • Reference number
    LU93658903113

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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.

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