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Ettore Sottsass Lamps, Bitossi for Raymor, Ceramic, Patchwork, Signed

US$9,800per set


Ettore Sottsass lamps, Bitossi for Raymor, ceramic, patchwork, pink, signed. Pair of tall hand thrown ceramic lamps glazed in a pinkish gray and decorated with a square patchwork pattern of yellow, blue, red, white, and sepia. This pattern was produced by Bitossi in 1955 and imported to the United States by Raymor. Signed 531 Italy on the undersides. Ceramic only measure 24" x 5". Documented in: Ettore Sottsass: Tutta La Ceramica, Ferrari, ppg. 35-36 illustrate related forms. Shades not included.


  • Creator
    Ettore Sottsass (Designer),Bitossi (Maker),Raymor (Retailer)
  • Dimensions
    Height: 32.5 in. (82.55 cm)Diameter: 5 in. (12.7 cm)
  • Sold As
    Set of 2
  • Style
    Mid-Century Modern (Of the Period)
  • Materials and Techniques
  • Place of Origin
  • Period
  • Date of Manufacture
  • Condition
    Rewired: Both have been rewired with brown nylon cords and have a bronze toned single light socket + harps. Wear consistent with age and use.
  • Seller Location
    New York, NY
  • Reference Number
    1stDibs: LU956917685491

Shipping & Returns

  • Shipping
    US$175 Standard Parcel Shipping
    to anywhere in the world, arrives in 3-5 weeks.
    We recommend this shipping type based on item size, type and fragility.
    Ships From: New York, NY
  • Return Policy

    A return for this item may be initiated within 3 days of delivery.

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About the Designer

Ettore Sottsass

An architect, industrial designer, philosopher and provocateur, Ettore Sottsass led a revolution in the aesthetics and technology of modern design in the late 20th century.Sottsass was the oldest member of the Memphis Group — a design collective, formed in Milan in 1980, whose irreverent, spirited members included Alessandro Mendini, Michele de Lucchi, Michael Graves and Shiro Kuramata. All had grown disillusioned by the staid, black-and-brown “corporatized” modernism that had become endemic in the 1970s. Memphis (the name stemmed from the title of a Bob Dylan song) countered with bold, brash, colorful, yet quirkily minimal designs for furniture, glassware, ceramics and metalwork. They mocked high-status by building furniture with inexpensive materials such as plastic laminates, decorated to resemble exotic finishes such as animal skins. Their work was both functional and — as intended — shocking. Even as it preceded the Memphis Group's formal launch, Sottsass's iconic Ultrafragola mirror — in its conspicuously curved plastic shell and radical pops of pink neon — embodies many of the collective's postmodern ideals.Sottsass's most-recognized designs appeared in the first Memphis collection, issued in 1981 — notably the multihued, angular Carlton room divider and Casablanca bookcase. As pieces on 1stDibs demonstrate, however, Sottsass is at his most imaginative and expressive in smaller, secondary furnishings such as lamps and chandeliers, and in table pieces and glassware that have playful and sculptural qualities.It was as an artist that Ettore Sottsass was celebrated in his life, in exhibitions at the Los Angeles County Museum of Art, in 2006, and the Philadelphia Museum of Art a year later. Even then Sottsass’s work prompted critical debate. And for a man whose greatest pleasure was in astonishing, delighting and ruffling feathers, perhaps there was no greater accolade. That the work remains so revolutionary and bold — that it breaks with convention so sharply it will never be considered mainstream — is a testament to his genius.
About the Seller
5 / 5
Located in New York, NY
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Established in 1998
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