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Details
CASA ORENGO, Turin (1949)
COATHOOK
carved and chanelled form of black painted wood, domed hexagonal brass bolt to centre
13in.(33cm.) high
COATHOOK
carved and chanelled form of black painted wood, domed hexagonal brass bolt to centre
13in.(33cm.) high
Literature
Carlo Mollino: Architecture as Autobiography, Brino, T&H, London, 1987, p.127
Carlo Mollino: Cronaca, Ferrari, SAN, Turin, 1985, pp.107, 110
Carlo Mollino: Cronaca, Ferrari, SAN, Turin, 1985, pp.107, 110
Special notice
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.
Further details
The organically-sculpted coathook was one of four made in 1949 for the entrance hall of the Casa Orengo, Mollino's last major interior design.
The fluid sensuality of the design can be interpreted in several ways. With an understanding of Mollino's interests in eroticism, the hooks, when fitted correctly to the padded red Resinflex walls of the Casa Orengo, acquire an overtly masculine sexual symbolism. When inverted, the shape becomes feminine, suggesting the form of a seated woman, legs together and outstretched arms. This stylisation is not coincidental, for Mollino certainly intended the hook to be viewed from both perspectives, as evidenced by his photographs on the subject. One of these photographs (plate 176, p.110, Carlo Mollino: Cronaca) shows the hook inverted, in front elevation, and casting a dark shadow. The hook now acquires a more sinister presence, as a stylisation of a horned face, tongue outstretched. Occultism was an important interest for Mollino, furthermore the city of Turin has a special relevance for students of the occult. Esoterically, Turin lies at the tip of the 'White Magic' triangle, which also includes the cities of Prague and Lyon, and at the tip of the 'Black Magic' triangle, which includes San Francisco and London. This therefore suggests that Turin is at the centre of the eternal struggle between Good and Evil. Mollino would certainly have been aware of the symbolism of his home town. A Freemason since 1945, Mollino was known to have had an extensive library on magic, astrology and palmistry, and attatched enormous spiritual importance to the symbolism of colours, in particular red, which represented 'erotic passion'. The coathook, therefore, can be seen to articulate the crystallisation of a highly personal artistic vocabulary.
The fluid sensuality of the design can be interpreted in several ways. With an understanding of Mollino's interests in eroticism, the hooks, when fitted correctly to the padded red Resinflex walls of the Casa Orengo, acquire an overtly masculine sexual symbolism. When inverted, the shape becomes feminine, suggesting the form of a seated woman, legs together and outstretched arms. This stylisation is not coincidental, for Mollino certainly intended the hook to be viewed from both perspectives, as evidenced by his photographs on the subject. One of these photographs (plate 176, p.110, Carlo Mollino: Cronaca) shows the hook inverted, in front elevation, and casting a dark shadow. The hook now acquires a more sinister presence, as a stylisation of a horned face, tongue outstretched. Occultism was an important interest for Mollino, furthermore the city of Turin has a special relevance for students of the occult. Esoterically, Turin lies at the tip of the 'White Magic' triangle, which also includes the cities of Prague and Lyon, and at the tip of the 'Black Magic' triangle, which includes San Francisco and London. This therefore suggests that Turin is at the centre of the eternal struggle between Good and Evil. Mollino would certainly have been aware of the symbolism of his home town. A Freemason since 1945, Mollino was known to have had an extensive library on magic, astrology and palmistry, and attatched enormous spiritual importance to the symbolism of colours, in particular red, which represented 'erotic passion'. The coathook, therefore, can be seen to articulate the crystallisation of a highly personal artistic vocabulary.