Property from a Private American Collection
2Σ
Carlo Mollino
Set of six armchairs and two stools, from the Lutrario Ballroom, Turin
- Estimate
- $20,000 - 30,000
$25,000
Lot Details
Painted steel, brass, Honduran mahogany-veneered bent plywood, fabric upholstery.
circa 1959
Each armchair: 29 3/4 x 24 5/8 x 21 1/4 in. (75.5 x 62.5 x 54 cm)
Each stool: 17 3/4 x 16 1/2 x 10 3/8 in. (45 x 42 x 26.5 cm)
Each stool: 17 3/4 x 16 1/2 x 10 3/8 in. (45 x 42 x 26.5 cm)
Manufactured by Doro, Cuneo, Italy. Underside of each armchair and one stool with label printed SC - INTERNATIONAL/poltrone & arredi/MARINA DI MONTEMARCIANO.
Specialist
Full-Cataloguing
Provenance
Literature
Carlo Mollino
Italian | B. 1905 D. 1973Carlo 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.
Browse ArtistMollino 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.