Molteni Gio Ponti D.555.1 Small Coffee Table For Sale
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Molteni Gio Ponti D.555.1 Small Coffee Table

Estimated Production Time:9-10 weeks

About

From Gio Ponti’s house, located in via Dezza in Milan, the small table D.555.1, designed in 1954-1955, is produced by Molteni&C based on the original drawings from the Ponti archives. It completes the Gio Ponti Collection which was a furnishing range designed by the architect between 1935 and 1950s. Metal hand-painted structure and glass top. Produced with metal legs. The parts of the metal grid are hand-painted in different colors like the original design. The top is made of transparent glass. Top structure Grid in hand-painted steel. Glass top Tempered glass thickness 5 mm transparent extra light. Leg In painted steel with plastic for floor placement. Estimated production time is 8-10 weeks to New England/New York City area (excluding holidays and closures) Estimated lead times are good faith estimates only. Although we strive to maintain timely production and delivery schedules for you, we cannot be responsible for delays in the manufacture or delivery of merchandise or in the performance of work by third parties. However, we will always notify you if we expect any substantial delays which may affect the date of delivery.  

Details

  • Condition
  • Dimensions
    H 14.57 in. x Dm 31.5 in.H 37 cm x Dm 80 cm
  • Diameter
    31.5 in. (80 cm)
  • Seller Location
    Boston, MA
  • Reference Number
    LU277837809313
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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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