Carlo Mollino Set of ten "Lutrario" armchairs, from the Lutrario Ballroom, Turin 1959-1960 Painted iron, brass, walnut-veneered bent plywood, fabric. Each: 29 1/4 x 24 3/8 x 21 1/2 in. (74.3 x 61.9 x 54.6 cm) Manufactured by Doro, Italy. Back of each chair with manufacturer's decal, four additionally with SC International paper label under seat.
Provenance Lutrario Ballroom, Turin Galerie Downtown, Paris Private collection Phillips de Pury & Company, New York, “Design,” June 9, 2010, lot 173 Acquired from the above Literature Fulvio Ferrari Carlo Mollino Cronaca, Turin, 1985, p. 140, fig. 234 Carlo Mollino 1905-1973, Torino, 1989, p. 270 Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino New York, 2006, pp. 153-55, 231 Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino Arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, pp. 95-96 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
Carlo Mollino Set of ten "Lutrario" armchairs, from the Lutrario Ballroom, Turin 1959-1960 Painted iron, brass, walnut-veneered bent plywood, fabric. Each: 29 1/4 x 24 3/8 x 21 1/2 in. (74.3 x 61.9 x 54.6 cm) Manufactured by Doro, Italy. Back of each chair with manufacturer's decal, four additionally with SC International paper label under seat.
Provenance Lutrario Ballroom, Turin Galerie Downtown, Paris Private collection Phillips de Pury & Company, New York, “Design,” June 9, 2010, lot 173 Acquired from the above Literature Fulvio Ferrari Carlo Mollino Cronaca, Turin, 1985, p. 140, fig. 234 Carlo Mollino 1905-1973, Torino, 1989, p. 270 Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino New York, 2006, pp. 153-55, 231 Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino Arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, pp. 95-96 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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