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Large Ettore Sottsass 'Lampros 3' Chandelier for Stilnovo, circa 1970

About

Large Ettore Sottsass Lampros 3 chandelier for Stilnovo, circa 1970. Executed in black painted aluminium and chromed metal with manufacturer's mark engraved on metal. A sophisticated and minimally refined design by an increasingly sought after Italian master, this is the piece to invest in and marvel at. Documented in the Stilnovo catalog #40, p.77 Ettore Sottsass, (born Sept. 14, 1917, Innsbruck, Austria-Hungary—died Dec. 31, 2007, Milan, Italy) was an Italian Industrial designer who brought bold colors, contemporary style, and ironic wit to everyday items, creating strikingly postmodern lighting, furniture, electronic gear, and domestic accessories.

Details

  • Condition
    Good. Rewired 3x 75 watt max standard socked bulbs and partially restored. Some bends to top of one chrome shade not visible when lamp is installed and noted only for accuracy. .
  • Wear
    Wear consistent with age and use. Minor losses. Minor structural damages.
  • Dimensions

    H 45 in. x Dm 30 in.

    H 114.3 cm x Dm 76.2 cm

  • Diameter
    30 in. (76.2 cm)
  • Seller location
    Glendale, CA
  • Reference number
    LU144727739893

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    This item can be returned within 14 days of delivery.

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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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