PROPERTY FROM A CANADIAN COLLECTION Carlo Mollino Low table, model no. 1114 ca. 1950 Maple, glass, brass. 18 1/4 x 52 x 23 1/4 in. (46.4 x 132.1 x 59.1 cm.) Produced by Appelli & Varesio, Italy and retailed by Singer & Sons, USA.
Provenance Acquired by the previous owner from Singer & Sons, New York Literature Fulvio Ferrari Carlo Mollino Cronaca, Turin, 1985, p. 129, fig. 215;Giovanni Brino, Carlo Mollino Munich, 1987, p. 132; Renate Ulmer and SilvioSan Pietro, eds., Carlo Mollino Sedie e Arredi, exh. cat., Institut Mathildenhöhe Darmstadt, Milan, 1994, p. 74; Giovanni Brino, Carlo Mollino Architecture as Autobiography, London, 2005, p. 137, fig. 316; Rossella Colombari, Carlo Mollino Catologo del Mobili, Milan, 2005, p. 114, fig. 105; Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino London, 2006, pp. 109, fig. 131 and 133 fora drawing, and 226; Charlotte and Peter Fiell, eds., Domus, Vol. III, 1950–1954, Cologne, 2006, p. 239; Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan,2007, p. 104, fig. 165 Artist Bio Carlo Mollino Italian • 1905 - 1973 Carlo Mollino made sexy furniture. His style may have grown out of the whiplash curves of Art Nouveau, but the sinuous lines of his furniture were more humanoid than vegetal, evoking arched backs and other body parts. Mollino was also an avid aviator, skier and racecar driver — he designed his own car for Le Mans. His love of speed and danger comes across in his designs, which MoMA curator Paola Antonelli has described as having "frisson." Mollino had no interest in industrial design and the attendant constraints of material costs and packaging. His independent wealth allowed him to pick and choose projects, resulting in an oeuvre of unique, often site-specific works that were mostly executed by the Turin joinery firm Apelli & Varesio. Apart from a coffee table that he designed in 1950 for the American company Singer & Sons, his furniture never went into production. Notwithstanding the support of Gio Ponti Mollino's design contemporaries largely dismissed him as an eccentric outsider. However, the combination of scarcity (Mollino only made several hundred works in his lifetime), exquisite craftsmanship and idiosyncratic "frisson" has rightly placed Carlo Mollino in the highest tier of twentieth-century design collecting. View More Works
PROPERTY FROM A CANADIAN COLLECTION Carlo Mollino Low table, model no. 1114 ca. 1950 Maple, glass, brass. 18 1/4 x 52 x 23 1/4 in. (46.4 x 132.1 x 59.1 cm.) Produced by Appelli & Varesio, Italy and retailed by Singer & Sons, USA.
Provenance Acquired by the previous owner from Singer & Sons, New York Literature Fulvio Ferrari Carlo Mollino Cronaca, Turin, 1985, p. 129, fig. 215;Giovanni Brino, Carlo Mollino Munich, 1987, p. 132; Renate Ulmer and SilvioSan Pietro, eds., Carlo Mollino Sedie e Arredi, exh. cat., Institut Mathildenhöhe Darmstadt, Milan, 1994, p. 74; Giovanni Brino, Carlo Mollino Architecture as Autobiography, London, 2005, p. 137, fig. 316; Rossella Colombari, Carlo Mollino Catologo del Mobili, Milan, 2005, p. 114, fig. 105; Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino London, 2006, pp. 109, fig. 131 and 133 fora drawing, and 226; Charlotte and Peter Fiell, eds., Domus, Vol. III, 1950–1954, Cologne, 2006, p. 239; Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan,2007, p. 104, fig. 165 Artist Bio Carlo Mollino Italian • 1905 - 1973 Carlo Mollino made sexy furniture. His style may have grown out of the whiplash curves of Art Nouveau, but the sinuous lines of his furniture were more humanoid than vegetal, evoking arched backs and other body parts. Mollino was also an avid aviator, skier and racecar driver — he designed his own car for Le Mans. His love of speed and danger comes across in his designs, which MoMA curator Paola Antonelli has described as having "frisson." Mollino had no interest in industrial design and the attendant constraints of material costs and packaging. His independent wealth allowed him to pick and choose projects, resulting in an oeuvre of unique, often site-specific works that were mostly executed by the Turin joinery firm Apelli & Varesio. Apart from a coffee table that he designed in 1950 for the American company Singer & Sons, his furniture never went into production. Notwithstanding the support of Gio Ponti Mollino's design contemporaries largely dismissed him as an eccentric outsider. However, the combination of scarcity (Mollino only made several hundred works in his lifetime), exquisite craftsmanship and idiosyncratic "frisson" has rightly placed Carlo Mollino in the highest tier of twentieth-century design collecting. View More Works
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
