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Pair of "Gabriella" Chairs by Gio Ponti

About

The typology of folding chairs was at one point an object of much interest in Italy. Deriving from 19th century Campaign furniture, but expressing the revolutionary values of temporariness and portability beloved of post-'68 European "Ad Hoc" culture, the folding chair became de rigeur as a design exercise for a great many Italian architects. Gio Ponti devised the chic "Gabriella" (one of his last chair designs) at the height of the Italian craze for folding chairs, and it is one of the best of the breed. The Gabriella's novel use of a very shallow seat contrasting (in the desirable high-backed version, of which this pair are examples) with a very tall back sets up attenuated, almost neo-Mannerist proportions which are nevertheless accommodating for a wide variety of body shapes. Made in Mantova, Italy by Walter Ponti (evidently no relation). In excellent original condition. Suitable for both indoor and outdoor use. Signed with manufacturer's decal label: [design Gio Ponti per Walter Ponti San Biagio - Mantova Italy].

Details

  • Date of manufacture
    circa 1970
  • Period
  • Condition
    Excellent. Excellent original condition. .
  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 41.5 in. x W 23.5 in. x D 23 in.

    H 105.41 cm x W 59.69 cm x D 58.42 cm

  • Seller location
    Los Angeles, CA
  • Sold As
    Set of 2
  • Reference number
    1008028091463

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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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