Ettore Sottsass Post-Modern Iron and Black Leather Danube Sofa for Cassina, 1992 For Sale
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Ettore Sottsass Post-Modern Iron and Black Leather Danube Sofa for Cassina, 1992

About

Danube sofa model 850, four seats, designed by Ettore Sottsass for Cassina. Iron structure covered with red cloth. Original black leather seat. Very good condition. The "Danube" sofa was an architectural take on two and three person seating. Intended for more formal settings, the flat external panels could be easily dressed up or down to provide a variety of looks in both wood and fabric. The sculpted interior provided comfortable, ergonomically supportive cushioning for extended sitting.

Details

  • Place of Origin
  • Date of Manufacture
    1992
  • Period
    1990-1999
  • Materials and Techniques
  • Condition
    Good
  • Dimensions
    H 33.08 in. x W 105.52 in. x D 31.5 in.H 84 cm x W 268 cm x D 80 cm
  • Seller Location
    Lonigo, IT
  • Reference Number
    LU3756310938721
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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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