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Ettore Sottsass Valigia Table Lamp by Stilnovo, Italy, 1977

About

Four-legged table lamp model Valigia designed by Ettore Sottsass Jr, manufactured by Stilnovo, Italy, 1977. This funny shaped floor lamp is very typical out of the box thinking by Ettore Sottsass. A piece that fits into the Stilnovo collection perfectly, inspired by the idea of a simple bent plate, with details in painted metal. This is Valigia, an icon in the vast repertory of design by Ettore Sottsass. Even though its production created no real problems, the lack of the original drawings required a certain amount of commitment in order to rebuild the executive designs, but thanks to the help of Barbara Radice Sottsass, the colors were individuated and the trim remains as true to the original as possible. The lamp is in very good original condition. All our lights are checked, cleaned and are suitable for use in the USA. For US usage you would only have to change the plug or get a holiday converter. Please contact us for affordable global shipping quotes, we ship from 35 Euro for small items up to 350 – 1000 Euro for larger items. We also provide express and white glove delivery services. Contact our shipping department for a non-binding shipping quote, you will get a response within 72 hours.

Details

  • Condition
    Excellent.
  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 14.57 in. x W 13.39 in. x D 8.67 in.

    H 37 cm x W 34 cm x D 22 cm

  • Seller location
    Roosendaal, NL
  • Reference number
    LU93306454303

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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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