Vittoriano Vigano for Arteluce Floor Lamp

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About the Item

Vittoriano Vigano for Arteluce, floor Lamp, model ‘1049’, Carrara marble, brass, coated aluminum, Italy, 1951/52. Post-war Italian designer and architect Vittoriano Vigano initially served as an artistic and technical advisor for Arteluce in 1946. Four years later, in 1950, he took on the role of artistic director while Gino Sarfatti was away in the United States. During this time, Viganò implemented his own design aesthetic, which involved the use of metal cones and shapes to direct and project light from large fixtures. After Sarfatti returned, Viganò continued to collaborate with Arteluce, producing light designs until 1960. This included the floor lamp model ‘1049’ created around 1951/52. Not only is this lamp aesthetically pleasing, it is clearly designed to provide a light source to adjust to one's own requirement. Both black and white aluminum shades can be rotated via ball joints to change the direction of the light partition. This lamp features a round white marble base from which two slender brass stems rise. Also, the position of the stem can be adjusted, making this lamp even more versatile. Vittoriano Vigano (1919-1996) was born in Milan and raised by a culturally affluent family whose dad, Vico Viganò, was a painter and engraver. From a young age, he had a predilection for design, which has given rise to his participation to the school of architecture at the Polytechnic University of Milan. He graduated in 1944 and shortly after the Second World War his career began to develop rapidly. He followed an apprenticeship at B.B.P.R., earned a master’s degree in engineering together with Italian architect Arturo Danusso (1880-1968), and assisted Gio Ponti in the department of interior architecture, furniture, and decoration. In 1947, he established his own studio where he practiced several disciplines, including industrial and interior design, architecture, and urban & landscape planning. He worked together with Gino Sarfatti (1912-1985) and his lighting company Arteluce. For sixteen years, he was the Italian correspondent for L’architecture d’Aujourd’hui, a magazine directed by his friend French sculptor André Bloc (1896-1966). As an interdisciplinary artist working in the post-war context, he understood architecture and design not as mere decorative practices, but as tools for the reconstruction of Italy and creation of a new civil society. His work was displayed in various locations around the world and was frequently featured in print and online publications. Vittoriano Vigano passed away in Milan in 1996.

Creator:
Arteluce (Manufacturer),Vittoriano Vigano (Designer)
Dimensions:
Height: 80.71 in (205 cm)Width: 14.18 in (36 cm)Depth: 74.81 in (190 cm)
Style:
Mid-Century Modern (Of the Period)
Materials and Techniques:
Aluminum,Brass,Carrara Marble
Place of Origin:
Italy
Period:
1950-1959
Date of Manufacture:
1951-1952
Condition:
Wear consistent with age and use. Every item Morentz offers is checked by our team of 30 craftsmen in our in-house workshop. Special restoration or reupholstery requests can be done. We guarantee a very high-quality standard, ask our design specialists for detailed information.
Seller Location:
Waalwijk, NL
Reference Number:
Seller: 501130801stDibs: LU933132806232

Shop All Arteluce

Arteluce

The lighting maker Arteluce was one of the companies at the heart of the creative explosion in postwar Italian design. The firm’s founder and guiding spirit, Gino Sarfatti (1912–85), was an incessant technical and stylistic innovator who almost single-handedly reinvented the chandelier as a modernist lighting form.

Sarfatti attended the University of Genoa to study aeronautical engineering but was forced to drop out when his father’s company went out of business. His mechanical instincts led him to turn his attention to lighting design — and he founded Arteluce as a small workshop in Milan in 1939. Sarfatti’s father was a Jew, so the family fled to Switzerland in 1943, but after the war — largely thanks to Sarfatti’s insistence on efficiency of design and manufacture — Arteluce quickly established itself as a top firm.

Though Sarfatti continued as chief designer through the 1950s and ’60s, he also enlisted other designers such as Franco Albini and Massimo Vignelli to contribute work. Sarfatti sold Arteluce to FLOS — a rival Italian lighting maker — in 1973 and retired to pursue a more traditional avocation: collecting and dealing rare postage stamps.

Sarfatti is regarded by many collectors as a pioneer of minimalist design. He pared down his lighting works to their essentials, focusing on practical aspects such as flexibility of use. His most famous light, the 2097 chandelier, is a brilliant example of reductive modernist design, featuring a central cylinder from which branches numerous supporting fixtures extending like spokes on a wheel.

Similarly, Sarfatti's 566 table lamp is a simple canister, able to be raised or lowered on a stem, holding a half-chrome bulb. Despite the marked functionality of his designs, Sarfatti did have a sprightly side: His 534 table lamp, with its cluster of rounded enameled shades, resembles a vase full of flowers, the Sputnik chandelier (model 2003) was inspired by fireworks and the brightly colored plastic disks of the 2072 chandelier look like lollipops. No matter the style, Sarfatti concentrated first and foremost on the character of light created — and any Arteluce lamp is a modernist masterpiece.

Find vintage Arteluce table lamps, chandeliers, floor lamps and other lighting on 1stDibs.