Carlo Mollino "Tipo B" side chair, designed for Casa Licitra Ponti, Milan 1950 Resinflex, brass, tubular brass. 37 3/4 x 15 1/4 x 20 1/4 in. (96 x 38.7 x 51.4 cm) From the production of 6.
Provenance Lisa Ponti and Luigi Licitra, Casa Licitra Ponti, Milan Gansevoort Gallery, New York Acquired from the above by the present owner, 1997 Literature “Una casa di predilezioni,” Domus, Milan, no. 267, February 1952, pp. 26-27 Giovanni Brino, Carlo Mollino Architettura come Autobiografia, Milan, 1985, p. 77 Albrecht Bangert Italian Furniture Design: Ideas Styles Movements, Munich, 1988, pp. 76-77, fig. 2 Roberto Gabetti and Fulvio Irace, Carlo Mollino 1905-1973, Turin, 1989, p. 159 for a technical drawing François Burkhardt and Claude Eveno, L’étrange univers de l’architecte Carlo Mollino exh. cat., Centre Georges Pompidou, Paris, 1989, pp. 89, 119 Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni '40 e '50, Bari, 1992, p. 209, fig. 4 Rossella Colombari, Carlo Mollino Catalogo Del Mobili – Furniture Catalogue, Milan, 2005, p. 24, fig. 8 Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino New York, 2006, 148-150, 227 Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino Arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, p. 38 Michael Webb Modernist Paradise: Niemeyer House/Boyd Collection, New York, 2007, pp. 68, 69, 136-37 Catalogue Essay The present lot is registered in the library of the Museo Casa Mollino, Turin, as number CM255-2. Phillips would like to thank Fulvio Ferrari and Napoleone Ferrari, Museo Casa Mollino, Turin, Lisa Ponti, Milan and Mark McDonald, New York, for their assistance cataloguing the present lot. On the occasion of their wedding, Carlo Mollino gifted a set of six “Tipo B” chairs, a sofa and two armchairs to Lisa Ponti (daughter of his friend and colleague Gio Ponti and Luigi Licitra. Mollino had designed three different models for this project, though “Tipo A” and “Tipo C” were never produced. This design also marked a departure in material choice for Mollino, as these were made in brass and Resinflex. Other examples from the set are in the collections of Bruno Bischofberger, Switzerland, and Michael and Gabrielle Boyd, Santa Monica. LISTENING TO MOLLINO The pieces of furniture Mollino designed for us – Lisa Ponti and Luigi Licitra, two young newly-weds fifty years ago – were magnificent, unprecedented signatures. But it was also wonderful for us to meet Mollino, and listen to Mollino in “Il Messaggio della Camera Oscura.” Reading and listening to Mollino in countless, impatient letters. We were on very close terms with him: the godfather of our youngest child, at his baptism he gave him a “pedal rocket” (streamlined and silver, like the racing car Mollino designed for Le Mans). In those years, the perfect discussion would take place at night between Mollino and Luigi, another mental acrobat. I was forgiven for my sleepiness in those days. On the other hand, I was often not forgiven for Stile – for the way it was, or wasn’t. An ad lib magazine. “Ponti led me to achieve international recognition,” Mollino used to say. (But this was a reluctant Mollino, in those days, heedless of the world.) And yet it was Mollino who, through his works and reflections, gave Ponti the best of himself. And it was he who aroused in Ponti a desire for critique: “but said with admiration,” as was the Mollino form of criticism that Ponti liked best. In contact "from a distance" from as early as 1937 (Pagano enlightened them from afar) it was only through Stile that Mollino and Ponti tuned out to be friends. They were unlike each other, those two. (Ponti, the Olympian, had no notion of his “so-called enemies,” while Mollino, persecuted by Mollino, saw enemies everywhere). But the two saw eye to eye on the subject of architecture: architecture as art and – “the ultimate aspiration of art”- as “expression.” And it was in Stile, in April 1944, that Ponti had the reward and the enchantment of listening to Mollino through ten pages of manuscripts and images. This was the project for a “House on the Heights.” This was a Mollino who left no doubt
Carlo Mollino "Tipo B" side chair, designed for Casa Licitra Ponti, Milan 1950 Resinflex, brass, tubular brass. 37 3/4 x 15 1/4 x 20 1/4 in. (96 x 38.7 x 51.4 cm) From the production of 6.
Provenance Lisa Ponti and Luigi Licitra, Casa Licitra Ponti, Milan Gansevoort Gallery, New York Acquired from the above by the present owner, 1997 Literature “Una casa di predilezioni,” Domus, Milan, no. 267, February 1952, pp. 26-27 Giovanni Brino, Carlo Mollino Architettura come Autobiografia, Milan, 1985, p. 77 Albrecht Bangert Italian Furniture Design: Ideas Styles Movements, Munich, 1988, pp. 76-77, fig. 2 Roberto Gabetti and Fulvio Irace, Carlo Mollino 1905-1973, Turin, 1989, p. 159 for a technical drawing François Burkhardt and Claude Eveno, L’étrange univers de l’architecte Carlo Mollino exh. cat., Centre Georges Pompidou, Paris, 1989, pp. 89, 119 Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni '40 e '50, Bari, 1992, p. 209, fig. 4 Rossella Colombari, Carlo Mollino Catalogo Del Mobili – Furniture Catalogue, Milan, 2005, p. 24, fig. 8 Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino New York, 2006, 148-150, 227 Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino Arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, p. 38 Michael Webb Modernist Paradise: Niemeyer House/Boyd Collection, New York, 2007, pp. 68, 69, 136-37 Catalogue Essay The present lot is registered in the library of the Museo Casa Mollino, Turin, as number CM255-2. Phillips would like to thank Fulvio Ferrari and Napoleone Ferrari, Museo Casa Mollino, Turin, Lisa Ponti, Milan and Mark McDonald, New York, for their assistance cataloguing the present lot. On the occasion of their wedding, Carlo Mollino gifted a set of six “Tipo B” chairs, a sofa and two armchairs to Lisa Ponti (daughter of his friend and colleague Gio Ponti and Luigi Licitra. Mollino had designed three different models for this project, though “Tipo A” and “Tipo C” were never produced. This design also marked a departure in material choice for Mollino, as these were made in brass and Resinflex. Other examples from the set are in the collections of Bruno Bischofberger, Switzerland, and Michael and Gabrielle Boyd, Santa Monica. LISTENING TO MOLLINO The pieces of furniture Mollino designed for us – Lisa Ponti and Luigi Licitra, two young newly-weds fifty years ago – were magnificent, unprecedented signatures. But it was also wonderful for us to meet Mollino, and listen to Mollino in “Il Messaggio della Camera Oscura.” Reading and listening to Mollino in countless, impatient letters. We were on very close terms with him: the godfather of our youngest child, at his baptism he gave him a “pedal rocket” (streamlined and silver, like the racing car Mollino designed for Le Mans). In those years, the perfect discussion would take place at night between Mollino and Luigi, another mental acrobat. I was forgiven for my sleepiness in those days. On the other hand, I was often not forgiven for Stile – for the way it was, or wasn’t. An ad lib magazine. “Ponti led me to achieve international recognition,” Mollino used to say. (But this was a reluctant Mollino, in those days, heedless of the world.) And yet it was Mollino who, through his works and reflections, gave Ponti the best of himself. And it was he who aroused in Ponti a desire for critique: “but said with admiration,” as was the Mollino form of criticism that Ponti liked best. In contact "from a distance" from as early as 1937 (Pagano enlightened them from afar) it was only through Stile that Mollino and Ponti tuned out to be friends. They were unlike each other, those two. (Ponti, the Olympian, had no notion of his “so-called enemies,” while Mollino, persecuted by Mollino, saw enemies everywhere). But the two saw eye to eye on the subject of architecture: architecture as art and – “the ultimate aspiration of art”- as “expression.” And it was in Stile, in April 1944, that Ponti had the reward and the enchantment of listening to Mollino through ten pages of manuscripts and images. This was the project for a “House on the Heights.” This was a Mollino who left no doubt
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