(-), Ettore Sottsass (Innsbruck 1917 - Milan 2007)...
Ettore Sottsass
(Innsbruck 1917 - Milan 2007)
Malide Vase (1986)
Marked E. Sottsass per Memphis by Compania Vetraria Muranese on the foot
Executed by Toso Vetri d'Arte, Murano, for Memphis, Milan
Coloured Glass, H. 51.9 cm (with original wooden case)
Provenance:
- Private collection, the Netherlands
- Private collection, the Netherlands
Literature:
Ettore Sottsass, Sottsass: Glass Works, Arnoldsche, Stuttgart,1998, p. 34 & 150
Note:
The Malide Vase reflects Sottsass’ interest in classical archetypal forms and applied ornament on Greek and Roman vessels. From these shapes and decorative elements, he composed new assemblages that explore structure, colour, and transparencies, with exaggerated ornament that pushes them toward sculpture, leaving only a vestige of functionality. Each piece in the first Memphis collection was named for a star and assembled by hot welding components. The second Memphis collection, with works such as Malide, evoking classical Greece, used the controversial choice of chemical glue to combine glass of varying shapes, colours thicknesses, and opacities. The result emphasises a machine-like precision and clarity between the articulation of parts the Malide Vase fulfil Sottsass’ desire to “deviate from the established conventions”.
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Ettore Sottsass
(Innsbruck 1917 - Milan 2007)
Malide Vase (1986)
Marked E. Sottsass per Memphis by Compania Vetraria Muranese on the foot
Executed by Toso Vetri d'Arte, Murano, for Memphis, Milan
Coloured Glass, H. 51.9 cm (with original wooden case)
Provenance:
- Private collection, the Netherlands
- Private collection, the Netherlands
Literature:
Ettore Sottsass, Sottsass: Glass Works, Arnoldsche, Stuttgart,1998, p. 34 & 150
Note:
The Malide Vase reflects Sottsass’ interest in classical archetypal forms and applied ornament on Greek and Roman vessels. From these shapes and decorative elements, he composed new assemblages that explore structure, colour, and transparencies, with exaggerated ornament that pushes them toward sculpture, leaving only a vestige of functionality. Each piece in the first Memphis collection was named for a star and assembled by hot welding components. The second Memphis collection, with works such as Malide, evoking classical Greece, used the controversial choice of chemical glue to combine glass of varying shapes, colours thicknesses, and opacities. The result emphasises a machine-like precision and clarity between the articulation of parts the Malide Vase fulfil Sottsass’ desire to “deviate from the established conventions”.
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Time, Location
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