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Pair of Table Lamps by Ettore Sottsass for Stilnovo

About

Desk lights, Ettore Sottsass for Stilnovo, enameled metal lamp in taupe, Italy, 1970. This pair of enamaled table lamps are adjustable in height. They feature a rubber-monted helmet shade. The shaft of these postmodern lights consists of a cylinder. On the top the helmet shades balance on and from the cylinder and the bottom is made out of a flat, circular base. The lamps have a Stilnovo label. Free shipping for all European destinations and discounted shipping to all intercontinental destinations starting at $95, depending on the item of your selection. We offer a variety of services, high service white glove shipping, parcel shipping and store-to-door shipping, suitable for all your preferences. Our specialized shipping department can inform you about all the details, ask us for the customized possibilities and very competitive pricing.

Details

  • Dimensions

    H 19.69 in. x W 14.18 in. x D 14.18 in.

    H 50 cm x W 36 cm x D 36 cm

  • Seller location
    Waalwijk, NL
  • Seller reference number
    6120
  • Sold As
    Set of 2
  • Reference number
    LU93317723153

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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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