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CARLO MOLLINO (1905-1973)
CARLO MOLLINO (1905-1973)
CARLO MOLLINO (1905-1973)
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CARLO MOLLINO (1905-1973)
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This lot will be removed to Christie’s Park Royal.… Read more
CARLO MOLLINO (1905-1973)

A rare and important dining suite

Details
CARLO MOLLINO (1905-1973)
A rare and important dining suite
executed by Ettore Canali, Brescia, for the Casa del Sole, Cervinia, comprising a table and six chairs, oak, chestnut, brass bolts, table with laminate-veneered surface
table: 31 1/8 high x 62 ¾ long x 31 ¾ in. wide (79 x 159.5 x 79.5 cm.)
chairs: each 36 ½ in. (93 cm.) high
(7)
Designed 1953, this suite was executed circa 1954-1955.
Provenance
Casa del Sole, Cervinia.
Private Collection, Europe, since circa 1995.
Literature
Other examples of these models illustrated:
F. Ferrari, Carlo Mollino: Cronaca, exh. cat., Turin, Galleria Fulvio Ferrari, 1985, p. 137, pl. 229.
G. Brino, Carlo Mollino: Architecture as Autobiography, New York 1987, p. 139.
L'Étrange Univers de l'Architecte Carlo Mollino, exh, cat., Paris, Centre Georges Pompidou, 1989-1990, p. 122.
I. De Guttry. M. P. Maino, Il mobile italiano degli anni ’40 e ’50, Rome 1992, p. 214, pl. 24.
R. Colombari, Carlo Mollino, Furniture Catalogue, Milan 2005, p. 54, no. 84.
F. Ferrari, N. Ferrari, The Furniture of Carlo Mollino, London 2006, pp. 204-206, 230.
F. Ferrari, N. Ferrari, Carlo Mollino: Arabesques, Verona 2006, p.107, pl. 173-174.
N. Ferrari, Mollino: Casa del Sole, Turin 2007, pp.78, 80-81, 93.
Exhibited
Examples of these models shown Carlo Mollino: Arabesques, 20 September 2006 – 7 January 2007, Galleria Civica d'Arte Moderna e Contemporanea, Turin, Italy.
Special Notice

This lot will be removed to Christie’s Park Royal. Christie’s will inform you if the lot has been sent offsite. Our removal and storage of the lot is subject to the terms and conditions of storage which can be found at Christies.com/storage and our fees for storage are set out in the table below - these will apply whether the lot remains with Christie’s or is removed elsewhere. Please call Christie’s Client Service 24 hours in advance to book a collection time at Christie’s Park Royal. All collections from Christie’s Park Royal will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com. If the lot remains at Christie’s it will be available for collection on any working day 9.00 am to 5.00 pm. Lots are not available for collection at weekends.

Brought to you by

Jeremy Morrison
Jeremy Morrison

Lot Essay

Carlo Mollino, a versatile, inspired and highly idiosyncratic individual of innate ability to synthesise diverse influences and passions, is today acknowledged as one of the most strikingly original creators of midcentury Italian architecture and design. Mollino maintained an interest in the Alpine landscape throughout his life. Whilst still a student, he had received an award for his photographic documentation of rural houses in the Val d’Aosta, and in 1953 he founded the Institute of Mountain Architecture. A keen and talented skier, Mollino was chairman of the board of schools and instructors of the FISI, the Italian Winter Sports Federation. In 1951, he published an essay ‘Introduction to Skiing’, which at the time represented a turning point in techniques of downhill skiing, and also produced a screenplay for a companion documentary film. Consequently, Mollino was naturally attracted to the possibilities of designing buildings for use both in this landscape and in the context of winter sports. The Casa del Sole was a ten-story apartment complex for winter sports enthusiasts that was to be sited on difficult, sloping terrain in the Italian Alpine resort of Cervinia. Although the initial concepts can be dated to the late 1940s, work on the building was sufficiently completed by 1954 to allow the delivery of and fitting of the specially-designed furniture. These furnishings were of consciously rugged construction in order to withstand regular use, and stylistically were informed by Mollino’s earlier studies into Alpine, vernacular furniture and architecture. The architectonic, trussed personality of the tables were complemented by chairs that revealed the subtleties of Mollino’s own personalised references, to include the gently hooked, horn-like aspects to the rear of the seats, and a distinctively bi-partite back, the symbolism of which, considering the architect’s interests, may be reasonably associated to reflect corset-like sensuality. In total, around 150 chairs were originally produced, from which some estimates suggest that less than 50 now remain. Approximately 25 rectangular dining tables were commissioned, each inset with green-laminate top, and a further 25 square tables, with oak tops, were produced for the Pavia restaurant, located on the ground floor of the complex. Around thirty years ago, the remaining, surviving furnishings from the Casa del Sole were removed, to be swiftly dispersed amongst collectors. Within the last fifteen years, only two dining suites from the Casa del Sole have been offered at public auction, and in both instances these were square tables supported by four chairs. The present lot, comprising of the larger rectangular table together with six chairs, represents a rare opportunity to engage with this important commission.

The son of Turin’s most prominent architect and engineer, Mollino originally studied art history prior to enrolling at the School of
Architecture, University of Turin, from where he graduated in 1931. From the very beginning, Mollino was established as a forthright and flamboyant architect operating in an idiom entirely of his own creation, his personalised vocabulary having been described in 1948 by the American designer George Nelson as ‘Turinese Baroque’. From the late 1940s until the mid-1950s, Mollino produced a spectacular portfolio of works and projects, including domestic commissions, Alpine resorts, hotel interiors and commercial developments. It was, however, through the diversity of his own interests that his projects acquired such personal resonance, and consequently one also encounters designs for automobile racetracks, for filling stations, even aircraft hangars. Mollino’s background in technical engineering supplied the inspiration not only for the types of architectural projects that many architects would deem too trivial, but also materialised as practical applications, illustrated by his skills as an automobile designer, and by his holding of various technical patents. Furthermore, already an accomplished skier, photographer, automobile racer, and acrobatic pilot, his published
writings contributed to the dialogue on subjects as diverse as the art of Georg Grosz and of Cubism, techniques of skiing, and critiques
of cinema. Throughout the late 1950s and 1960s, Mollino continued to work on numerous projects and exercises, however, turned increasingly to concentrate on technical projects such as aircraft design, and to pursue his dominant passion for photography. Both as a designer and as an individual, Mollino articulated an enigmatic and romantic symbolism, as best expressed by the mobile sensuality of many of his furnishings. Here was not a designer who felt compelled to provide a strict rationality for many of his designs, but rather an individual who wished to invest the inanimate with feeling, movement, and a coded mythology.

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