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Auction archive: Lot number 21

Giuseppe Terragni

Estimate
£50,000 - £70,000
ca. US$71,570 - US$100,198
Price realised:
£62,500
ca. US$89,462
Auction archive: Lot number 21

Giuseppe Terragni

Estimate
£50,000 - £70,000
ca. US$71,570 - US$100,198
Price realised:
£62,500
ca. US$89,462
Beschreibung:

Giuseppe Terragni Bedroom, designed for Casa Stecchini, Como designed 1936-1937 Bubinga-veneered wood, bird's eye maple-veneered wood, bronze, patinated bronze, gilt bronze, steel, chromium-plated steel, Bakelite. Single wardrobe: 190 x 117 x 58 cm (74 3/4 x 46 x 22 3/4 in.) Double wardrobe: 190 x 220 x 58 cm (74 3/4 x 86 1/2 x 22 3/4 in.) Large cabinet: 90 x 191 x 37 cm (35 1/2 x 75 1/4 x 14 1/2 in.) Small cabinet: 90 x 70 x 32.5 cm (35 1/2 x 27 1/2 x 12 3/4 in.) Bed: 90 x 208.5 x 221 cm (35 1/2 x 82 x 87 in.) Comprising two adjoining wardrobes, one single wardrobe, large cabinet, small cabinet, and bed.
Provenance Stecchini family, Casa Stecchini, via Ferrari, Como, 1936-1937 Thence by descent Acquired from the above by the present owner Literature Raffaella Crespi, Giuseppe Terragni Designer, Milan, 1983, figs. 96-97 for a technical drawing of the interior Ada Francesca Marcianò, Giuseppe Terragni Opera completa 1925-1943, Rome, 1987, pp. 168-69 for technical drawings of the interior, p. 319 for project notes Giorgio Ciucci, Giuseppe Terragni Opera completa, Milan, 1966, pp. 500-501 for technical drawings of the interior Giovanna D'Amia, Giuseppe Terragni beyond rationalism, Como, 2003, pp. 54-55 Catalogue Essay Good Night and Good Luck Elisabetta Terragni March 2016 Giuseppe Terragni rarely let an opportunity go by without testing his ideas. How could he turn down a commission from a young entrepreneur when his client’s father had already entrusted him with the task of designing a family tomb in the Como Cemetery? Terragni entered into the story of the Stecchini family and remained a respectful visitor after shaping the most intimate settings for them. The bestowal of trust, to build a memorial to the departed Stecchini, was now extended to shaping a place for the living. A tomb lasts for generations, while apartments are often changed, but having designed the former, Terragni was now to move even closer to the family with the latter. Perhaps the ephemeral dwelling might even outshine the perennial resting place. The Stecchini Tomb had held its silent vigil for years in the local cemetery on the shady Western slopes of Como, when Terragni reentered the family’s orbit in 1936 to renovate their villa on the sunny Eastern side of town. The Stecchini occupied a villa in which Terragni was only expected to improve circulation and existing spaces. Following his natural inclination, however, the project grew more elaborate as soon as he put his mind to it. He may have been toying with the possibility of refurbishing the whole house, but he certainly dedicated a lot of effort to the design of the bedroom. The master bedroom turned into a nutshell, cradling his fondest ideas about making things. In 1936 Terragni was not a twenty-six year old architect trying to sharpen his vocabulary, but a master with his own language: The Casa del Fascio, his defining building in Como, is about to be finished and he is already in the throes of another project, the Sant’Elia Kindergarten, soon to be recognised as another masterful accomplishment. In the design of these two buildings, Terragni had neglected nothing, caring for every detail, yet keeping his guiding idea on a firm keel: lucid in every part and tightly interlocked, no technical contraption is lacking, every choice made with utmost precision. Naturally, his attention does not slacken when it comes to furnishings, chairs, tables, blackboards and lamps. Every one of them is custom-made by trusted fabricators. He designs them down to joints and grooves, often at full scale, because only flawlessly executed does he consider his ideas fully realised. There is no break in scale or character, no distinction in quality among the parts. It does not matter whether he scales a school for children or caters to the expectations of a businessman. Physical stature varies, but accurate measure remains the key to the reality of experience in both. What an occasion to bend tubular steel, match it with glass and wood to different postures and proportions, and finally cast a colour over them. While many pieces display the hard materials and edges that became the hallmark of the decade, Terragni’s preferences run to surprisingly soft hues. Aquamarine for metal, darker stains for wood furniture and black upholstery with a filament of orange suggesting an almost Pompeian tonality. Customarily Terragni worked on small sheets of paper of unvarying size, tracing few lines and often jotting down notes and questions about materials, colours, and fabrication. Thereafter, a precise set of ink drawings rendered p

Auction archive: Lot number 21
Auction:
Datum:
27 Apr 2016
Auction house:
Phillips
London
Beschreibung:

Giuseppe Terragni Bedroom, designed for Casa Stecchini, Como designed 1936-1937 Bubinga-veneered wood, bird's eye maple-veneered wood, bronze, patinated bronze, gilt bronze, steel, chromium-plated steel, Bakelite. Single wardrobe: 190 x 117 x 58 cm (74 3/4 x 46 x 22 3/4 in.) Double wardrobe: 190 x 220 x 58 cm (74 3/4 x 86 1/2 x 22 3/4 in.) Large cabinet: 90 x 191 x 37 cm (35 1/2 x 75 1/4 x 14 1/2 in.) Small cabinet: 90 x 70 x 32.5 cm (35 1/2 x 27 1/2 x 12 3/4 in.) Bed: 90 x 208.5 x 221 cm (35 1/2 x 82 x 87 in.) Comprising two adjoining wardrobes, one single wardrobe, large cabinet, small cabinet, and bed.
Provenance Stecchini family, Casa Stecchini, via Ferrari, Como, 1936-1937 Thence by descent Acquired from the above by the present owner Literature Raffaella Crespi, Giuseppe Terragni Designer, Milan, 1983, figs. 96-97 for a technical drawing of the interior Ada Francesca Marcianò, Giuseppe Terragni Opera completa 1925-1943, Rome, 1987, pp. 168-69 for technical drawings of the interior, p. 319 for project notes Giorgio Ciucci, Giuseppe Terragni Opera completa, Milan, 1966, pp. 500-501 for technical drawings of the interior Giovanna D'Amia, Giuseppe Terragni beyond rationalism, Como, 2003, pp. 54-55 Catalogue Essay Good Night and Good Luck Elisabetta Terragni March 2016 Giuseppe Terragni rarely let an opportunity go by without testing his ideas. How could he turn down a commission from a young entrepreneur when his client’s father had already entrusted him with the task of designing a family tomb in the Como Cemetery? Terragni entered into the story of the Stecchini family and remained a respectful visitor after shaping the most intimate settings for them. The bestowal of trust, to build a memorial to the departed Stecchini, was now extended to shaping a place for the living. A tomb lasts for generations, while apartments are often changed, but having designed the former, Terragni was now to move even closer to the family with the latter. Perhaps the ephemeral dwelling might even outshine the perennial resting place. The Stecchini Tomb had held its silent vigil for years in the local cemetery on the shady Western slopes of Como, when Terragni reentered the family’s orbit in 1936 to renovate their villa on the sunny Eastern side of town. The Stecchini occupied a villa in which Terragni was only expected to improve circulation and existing spaces. Following his natural inclination, however, the project grew more elaborate as soon as he put his mind to it. He may have been toying with the possibility of refurbishing the whole house, but he certainly dedicated a lot of effort to the design of the bedroom. The master bedroom turned into a nutshell, cradling his fondest ideas about making things. In 1936 Terragni was not a twenty-six year old architect trying to sharpen his vocabulary, but a master with his own language: The Casa del Fascio, his defining building in Como, is about to be finished and he is already in the throes of another project, the Sant’Elia Kindergarten, soon to be recognised as another masterful accomplishment. In the design of these two buildings, Terragni had neglected nothing, caring for every detail, yet keeping his guiding idea on a firm keel: lucid in every part and tightly interlocked, no technical contraption is lacking, every choice made with utmost precision. Naturally, his attention does not slacken when it comes to furnishings, chairs, tables, blackboards and lamps. Every one of them is custom-made by trusted fabricators. He designs them down to joints and grooves, often at full scale, because only flawlessly executed does he consider his ideas fully realised. There is no break in scale or character, no distinction in quality among the parts. It does not matter whether he scales a school for children or caters to the expectations of a businessman. Physical stature varies, but accurate measure remains the key to the reality of experience in both. What an occasion to bend tubular steel, match it with glass and wood to different postures and proportions, and finally cast a colour over them. While many pieces display the hard materials and edges that became the hallmark of the decade, Terragni’s preferences run to surprisingly soft hues. Aquamarine for metal, darker stains for wood furniture and black upholstery with a filament of orange suggesting an almost Pompeian tonality. Customarily Terragni worked on small sheets of paper of unvarying size, tracing few lines and often jotting down notes and questions about materials, colours, and fabrication. Thereafter, a precise set of ink drawings rendered p

Auction archive: Lot number 21
Auction:
Datum:
27 Apr 2016
Auction house:
Phillips
London
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