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Gio Ponti for Lumi Pair of First Edition "Quadri Luminosi" Sconces

$24,000per set

About

Designed by Gio Ponti for Lumi, rare pair of first edition 'Quadri Luminosi' sconces models 575 and 576, Italy, circa 1960. Brass and enameled brass architectural rods and geometric shapes sculpturally mounted on white enameled metal. The light illuminates from the folded brass elements creating a play on light and shadows in its vivid graphic patterns. Signed with applied brass manufacturer's label to reverse of each example 'Lumi'. Measurements: Model 575: 17 ½ h x 16 w x 4 d in (44 x 41 x 10 cm) Model 576: 22 h x 15 ¾ w x 4 d in (56 x 40 x 10 cm) Literature: Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 344 Giuliana Gramigna, Repertorio 1950-1980, Milan, 1985, p. 103 Lisa Licitra Ponti, Gio Ponti: The Complete Works 1923-1978, London, 1990, p. 211 Fulvio Irace, MarCo Romanelli, eds, Gio Ponti, exh. cat., Milan, 1997, p. 103.

Details

  • Creator
    Gio Ponti (Designer),Lumi (Manufacturer)
  • Dimensions
    Height: 22 in. (55.88 cm)Width: 15.75 in. (40.01 cm)Depth: 3.5 in. (8.89 cm)
  • Sold As
    Set of 2
  • Style
    Mid-Century Modern (Of the Period)
  • Materials and Techniques
    LacqueredMetal,Brass
  • Place of Origin
  • Period
  • Date of Manufacture
    circa 1960
  • Condition
    Rewired: Metal cleaned and sconces recently rewired to U.S. standards. Wear consistent with age and use. In excellent original vintage condition.
  • Seller Location
    New York, NY
  • Reference Number
    Seller: PON4031stDibs: LU2917315937822

Shipping & Returns

  • Shipping
    Rates vary by destination and complexity.
    Ships From: New York, NY
  • Return Policy

    A return for this item may be initiated within 7 days of delivery.

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About Gio Ponti (Designer)

An architect, furniture and industrial designer and editor, Giò 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 Colombo 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.

About the Seller
5 / 5
Located in New York, NY
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Established in 2016
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74 sales on 1stDibs
Typical response time: <1 hour
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