Max Ingrand Follow Rare chandelier circa 1958 painted tubular steel, painted metal, brass, opaque glass, glass 76.5 cm. (30 1/8 in.) drop, 53 cm. (20 7/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy, circa 1958.
Provenance Private Collection, Italy Literature Fontana Arte: Illuminazione , Milan, pp. 22, 23 for variations of the model Vitrium , no. 147, February 1965, pp. 30, 33 Franco Deboni, Fontana Arte: Gio Ponti Pietro Chiesa Max Ingrand , Turin, 2012, fig. 326 for a similar example Catalogue Essay Succeeding Pietro Chiesa Max Ingrand was appointed as the artistic director of Fontana Arte in 1954. Ingrand, who had achieved international recognition for his stained glass designs, was nominated for the position by Gio Ponti with who the French designer would develop a great mutual esteem through their collaboration. Guided by Ingrand’s innovative spirit, Fontana Arte established a semi-industrial production model, whilst maintaining the company’s strong tradition of exquisite craftsmanship. Fontana Arte introduced new lighting solutions to the market, and upon the encouragement of Ponti, developed the use of coloured glass in their designs, all of which reflected Ingrand’s interest in the study of light and its effects within an architectural space. Modernising the traditional form of the chandelier, the present lot features individual pieces of profiled clear glass surrounding a central light source of opaque glass, creating a composition that articulates and diffuses the light. Whilst giving prominence to the expert craftsmanship of the glasswork, Ingrand also incorporated industrial materials, such as painted tubular steel, elegantly combining the modern with the traditional. In his monograph of the designer, Pierre-Emmanuel Martin-Vivier describes Ingrand’s lighting as ‘transcending its purely functional purpose to become an iconic object boundless of time and fashion’. Moreover, through his approach to materials, such as the use of coloured glass as illustrated in the delicate coloured glass ‘petals’ of the ‘Dahlia’ series (see Lot 53), Ingrand demonstrated the potential for artificial lighting to be as resplendent as natural light. Read More Catalogue Essay 皮耶特羅·遲埃撒逝世后，法國設計師馬克斯·英格蘭於1954年被任命為豐塔納藝術燈具的藝術總監。英格蘭彼時已憑藉其彩色玻璃設計獲得國際認可，吉奧·蓬蒂提名他出任豐塔納藝術總監，為兩者間一段相互欽佩的合作關係拉開序幕。在英格蘭的創新精神領導下，豐塔納藝術公司建立了半工業化的生產模式，同時保留了公司傳統強項精緻工藝。豐塔納藝術為市場帶來全新的照明選項。英格蘭在蓬蒂的鼓勵下，於設計中運用彩色玻璃，彰顯他對於光線及其在建築空間內效果的細緻研究。 本件拍品意圖將傳統吊燈現代化，呈現透明成型玻璃片環繞在中心不透明的玻璃燈源周圍，營造出光暈發散的效果。英格蘭重視玻璃製品專業的手工藝技巧同時，也著重融入工業原料，例如塗裝管狀鋼，并完美地結合傳統與現代。在設計師皮耶·埃曼紐爾·馬丁·維維爾的設計師專著中，他曾提到英格蘭的燈具「超越了一般功能用途而成為不受時間、時尚限制的代表性傑作」。此外，透過他利用媒材的方式，例如在「天竺牡丹」系列作品 (參閱拍品編號53) 中採用彩色玻璃作為花瓣，英格蘭證明了人工燈具可以如同自然光線一般光輝璀璨。 Read More
Max Ingrand Follow Rare chandelier circa 1958 painted tubular steel, painted metal, brass, opaque glass, glass 76.5 cm. (30 1/8 in.) drop, 53 cm. (20 7/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy, circa 1958.
Provenance Private Collection, Italy Literature Fontana Arte: Illuminazione , Milan, pp. 22, 23 for variations of the model Vitrium , no. 147, February 1965, pp. 30, 33 Franco Deboni, Fontana Arte: Gio Ponti Pietro Chiesa Max Ingrand , Turin, 2012, fig. 326 for a similar example Catalogue Essay Succeeding Pietro Chiesa Max Ingrand was appointed as the artistic director of Fontana Arte in 1954. Ingrand, who had achieved international recognition for his stained glass designs, was nominated for the position by Gio Ponti with who the French designer would develop a great mutual esteem through their collaboration. Guided by Ingrand’s innovative spirit, Fontana Arte established a semi-industrial production model, whilst maintaining the company’s strong tradition of exquisite craftsmanship. Fontana Arte introduced new lighting solutions to the market, and upon the encouragement of Ponti, developed the use of coloured glass in their designs, all of which reflected Ingrand’s interest in the study of light and its effects within an architectural space. Modernising the traditional form of the chandelier, the present lot features individual pieces of profiled clear glass surrounding a central light source of opaque glass, creating a composition that articulates and diffuses the light. Whilst giving prominence to the expert craftsmanship of the glasswork, Ingrand also incorporated industrial materials, such as painted tubular steel, elegantly combining the modern with the traditional. In his monograph of the designer, Pierre-Emmanuel Martin-Vivier describes Ingrand’s lighting as ‘transcending its purely functional purpose to become an iconic object boundless of time and fashion’. Moreover, through his approach to materials, such as the use of coloured glass as illustrated in the delicate coloured glass ‘petals’ of the ‘Dahlia’ series (see Lot 53), Ingrand demonstrated the potential for artificial lighting to be as resplendent as natural light. Read More Catalogue Essay 皮耶特羅·遲埃撒逝世后，法國設計師馬克斯·英格蘭於1954年被任命為豐塔納藝術燈具的藝術總監。英格蘭彼時已憑藉其彩色玻璃設計獲得國際認可，吉奧·蓬蒂提名他出任豐塔納藝術總監，為兩者間一段相互欽佩的合作關係拉開序幕。在英格蘭的創新精神領導下，豐塔納藝術公司建立了半工業化的生產模式，同時保留了公司傳統強項精緻工藝。豐塔納藝術為市場帶來全新的照明選項。英格蘭在蓬蒂的鼓勵下，於設計中運用彩色玻璃，彰顯他對於光線及其在建築空間內效果的細緻研究。 本件拍品意圖將傳統吊燈現代化，呈現透明成型玻璃片環繞在中心不透明的玻璃燈源周圍，營造出光暈發散的效果。英格蘭重視玻璃製品專業的手工藝技巧同時，也著重融入工業原料，例如塗裝管狀鋼，并完美地結合傳統與現代。在設計師皮耶·埃曼紐爾·馬丁·維維爾的設計師專著中，他曾提到英格蘭的燈具「超越了一般功能用途而成為不受時間、時尚限制的代表性傑作」。此外，透過他利用媒材的方式，例如在「天竺牡丹」系列作品 (參閱拍品編號53) 中採用彩色玻璃作為花瓣，英格蘭證明了人工燈具可以如同自然光線一般光輝璀璨。 Read More
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
