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Details
OCCASIONAL TABLE, (c.1950)
turned and carved maple structure, with brass fittings and two glass shelves, upper glass surface replaced
48½in.(123cm.) length; 16¾in.(42.75cm.) height; 21½in.(55.4cm.) width
turned and carved maple structure, with brass fittings and two glass shelves, upper glass surface replaced
48½in.(123cm.) length; 16¾in.(42.75cm.) height; 21½in.(55.4cm.) width
Literature
Modern Furniture Classics: Since 1945, Fiell, T&H, London, 1991, p.36 similar example illustrated
Italian Design: 1870 - Present, Sparke, T&H, London, 1988, p.84 similar example illustrated
Carlo Mollino: Architecture as Autobiography, Brino, T&H, London, 1987, p.132 related example illustrated
Italian Design: 1870 - Present, Sparke, T&H, London, 1988, p.84 similar example illustrated
Carlo Mollino: Architecture as Autobiography, Brino, T&H, London, 1987, p.132 related example illustrated
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 origins of this design can be traced to the two-tier occasional table, with ebonised frame and with tripod support, designed for Casa Minola, 1944. This design was reinterpreted by Mollino for the Singer store, Turin, 1950, and featured a different shaped glass top and four supports, two of which are supported on brass 'stiletto' heels.
This version features an irregularly-shaped glass top, similar to those used on the 'Arabesque' tables, and two of the legs are supported on large brass supports, styled as stiletto heels. The profile of the glass top is modelled as the outline of a recumbent woman's back (p.44, Brino), which together with the splayed nature of the table's legs and the brass stilleto supports, articulates Mollino's integration of eroticism and design.
This version features an irregularly-shaped glass top, similar to those used on the 'Arabesque' tables, and two of the legs are supported on large brass supports, styled as stiletto heels. The profile of the glass top is modelled as the outline of a recumbent woman's back (p.44, Brino), which together with the splayed nature of the table's legs and the brass stilleto supports, articulates Mollino's integration of eroticism and design.