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Beautiful and Elegant Pair of Italian Solid Brass 'Orgue' Appliques, circa 1955

About

Beautiful and elegant pair of original, solid brass (not plated), italian 'orgue' appliques, circa 1955. Each sconce features three uplighters and two downlighters, each lamp completely concealed within the sculptural tubular elements, there is no downlighter in the central tubular element of each sconce, this is an original feature and as you can see creates a beautiful optical effect when illuminated. We have left the appliques in their original state as found in Italy with surface patination to the brass, being solid brass these marks can be polished out to leave a high luster finish should the buyer require that. Please be aware that the visible marks on the brass surface are just surface patination NOT damage.We prefer to keep the original surface patina on the brass prior to selling because there are so many fakes in the italian lighting market these days that we like to keep as much visible proof of originality where possible so our clients can buy with complete confidence. We have also kept the original hardware and electrics, the original brass and ceramic bulb holders are still installed as is the original wiring. Please note one of the ten original brass bulb holders has been replaced. We can have both sconces rewired for our clients. Again we have decided to keep all these original features as proof of originality. A rare and beautiful set.

Details

  • Period
  • Materials and techniques
  • Condition
    Good. These sconces are in good condition, there is surface patination to the brass which can be hand polished out to reveal a high luster should the client require that. We prefer to keep the brass surface patina prior to selling as proof of originality..
  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 18.71 in. x W 6.3 in. x D 5.91 in.

    H 47.5 cm x W 16 cm x D 15 cm

  • Seller location
    bergen op zoom, NL
  • Sold As
    Set of 2
  • Reference number
    LU93017027353

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About Gio Ponti (Designer)

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, lamps 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 Columbo and others.

     His 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 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.

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