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Ettore Sottsass, Carlton Bookcase

About

Carlton bookcase and room divider, designed by Ettore Sottsass in 1981, Italy. One of 30 copies only (no. 28/ 30), produced for the anniversary of Memphis in 2011. Gold-plated plaque engraved with the limited edition numbering of the piece. Comes with the "Certificate of Authenticity." Wood and plastic laminate construction in an array of colors. Literature: Collection Museum of Modern Art, New York. Repertorio del Design Italiano, 2 vols, page 300, illustrated. Ettore Sottsass (14 September 1917 – 31 December 2007). Italian architect and designer of the late 20th century. His body of designs included furniture, jewelry, glass, lighting and office machine design. Sottsass Associati, primarily an architectural practice, also designed elaborate stores and showrooms for Esprit, identities for Alessi, exhibitions, interiors, consumer electronics in Japan and furniture of all kinds. The studio was based on the cultural guidance of Ettore Sottsass and the work conducted by its many young associates, who often left to open their own studios.

Details

  • Date of manufacture
    1981
  • Period
  • Condition
    Excellent.
  • Dimensions

    H 76.78 in. x W 15.75 in. x D 74.81 in.

    H 195 cm x W 40 cm x D 190 cm

  • Seller location
    Berlin, DE
  • Reference number
    LU98078777203

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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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