Vernice Italiana

Catalogue August - December 2015 / 目錄 / 2015 年 8 - 12 月

First edition / 第一版

Joe Sofa / 乔伊沙发 1970

Joe Sofa / 乔伊沙发

Excellent modernariato conditions / 状况极佳

Jonathan De Pas, Donato D’Urbino, Paolo Lomazzi Made in Italy by Poltronova, 1970 86 X 170 X 150 cm Polyurethane foam and leather, featuring manufacturer’s mark Excellent modernariato conditions Featured in the permanent collection of New York’s Museum of Modern Art (MoMA)

乔纳森·德帕斯(Jonathan De Pas,19321991)，多纳托·德·乌日比诺(Donato D’Urbino)， 保罗·罗曼兹(Paolo Lomazzi) 意大利傢俱製造商Poltronova製造, 1970 86 X 170 X 150 cm 聚氨酯泡棉、皮革，具有製造商标志。 状况极佳 现为纽约现代艺术博物馆（MoMA）馆藏 作品之一

Joe Sofa / 乔伊沙发

The Joe sofa is commonly recognised as one of the greatest examples of Italian design in the 20th century. This iconic work, part of the permanent design collection at New York’s Museum of Modern Art (MoMA), was designed by Jonathan De Pas, Donato D’Urbino e Paolo Lomazzi for the Poltronova company in 1970.

The name and baseball-glove shape of this piece are dedicated to Joe di Maggio, the famous Italian-American sport champion.

Paying a tribute to the Western pop culture while at the same time subverting the traditional forms of furniture to encourage a liberating lifestyle, the Joe sofa perfectly embodies the spirit of Italy at the end of the Sixties.

What we offer is an extremely rare example from the 1970’s first Poltronova production. The original high-quality leather is magnificently preserved and evokes a rich history of prestige, taste, and pleasureseeking. This extraordinary piece, well apt to accommodate two people, will leave a distinctive mark in any kind of environment where it will be located in.

乔伊沙发是20世纪意大利设计里最具影响力 的范例之一。这件具有指标性的设计品现为 纽约现代艺术馆(MoMA)里的馆藏之一。由 义大利设计师 乔纳森·德帕斯(Jonathan De Pas,1932-1991), Donato D’Urbino 以 及 保罗‧罗曼兹(Paolo Lomazzi)在1970年为 Poltronova 公司所设计的。 乔伊这个名字以及其棒球手套的形状，是为 了向一名意籍美国运动赢家 乔伊·狄马乔致 敬。除了表达对于西方流行文化的赞赏，还 颠覆了传统家俱的形状来鼓励自由解放的生 活风格。乔伊沙发在六零年代的尾声完美地 呈现了意大利的精神。 而我们所提供的是ㄧ项极罕见的原创产品， 是由意大利家俱公司Poltronova在1970年时 第一批生产的沙发。这个原创且高品质的皮 革至今都还被保存良好，同时它也唤起了具 有声望，品味，以及享乐主义的时代风格。 这件非凡的经典作品， 恰好可容纳两人并会 在任何地方场合都留下令人鲜明的印象。

Joe Sofa / 乔伊沙发

Joe Sofa / 乔伊沙发

Original edition / 原创版

Tatlin Sofa / 塔特林沙发 1989

Tatlin Sofa / 塔特林沙发

Good modernariato conditions / 状况优良

Mario Cananzi, Roberto Semprini Made in Italy by Edra, 1989 135 X 175 X 210cm Plywood, stainless steel, velvet covering Good modernariato conditions

Tatlin Sofa / 塔特林沙发

马里奥·卡南齐(Mario Cananzi)以及 罗伯 托·森普里尼(Roberto Semprini) 意大利傢俱製造商 Edra製造, 1989 135 X 175 X 210公分 合成木、不鏽钢，天鹅绒布 状况优良

An immediate icon since its launch on the market in 1989, this piece by Mario Cananzi and Roberto Semprini for Edra challenges many common assumptions regarding the place of the sofa in the contemporary house.

This upholstered seat can be seen both as a circular sofa with an unmistakable colour mark, and as a sculpture whose pinnacle takes inspiration from the works of the Russian artistic avant-guards of the early 20th century. You can find Tatlin in many world-class museums. In Milan’s Triennale Museum, it sits alone as a totem in the middle of a grand hall, showing visitors how some pieces of furniture are born as true protagonists. 自1989年发佈的一件即时的指标设计家俱， 这件家俱由意大利设计师 马里奥·卡南齐 (Mario Cananzi)以及 罗伯托·森普里尼 (Roberto Semprini)为Edra所设计，那时， 塔特林沙发挑战了许多沙发在当代房子里摆 放位置的假设。 这件家俱可以看做是一件有鲜明色彩的圆形 环绕状沙发，也可以看做是一件雕塑般的艺 术品，它顶端的设计是被20世纪早期的俄 罗斯的前卫艺术所启发。在国际级的美术馆 里，你会发现塔特林沙发的存在。而在米兰 的三年展展馆中，塔特林就如同一个象征物 件，独自座落在大厅的中央，它告诉了参观 访客，家俱正是可以如同一位主角被创造出 来。

Limited edition / 限量版

Nobody’s Perfect Table / “没人是完美的“系列，桌子 2003

Nobody’s Perfect Table /“没人是完美的“系列，桌子

Excellent modernariato conditions / 状况极佳

Gaetano Pesce Made in Italy by Zerodisegno, 2003 (limited edition) 75 X 105 X 105 cm Multicoloured Resin with craftsman’s signature and date. Each leg is signed with cast manufacturer’s mark

加埃塔诺·佩谢（Gaetano Pesce） 意大利傢俱製造商Zerodisegno製造, 2003 限量版 75 X 105 X 105 公分 多色的合成树脂、工艺师的签名、製作日 期。每只桌脚都印有製造商标。

Nobody’s Perfect Table /“没人是完美的“系列，桌子

Gaetano Pesce’s experiments on the boundaries between art and industry have produced this ambitious piece. Nobody’s Table, realised with the Zerodisegno brand, is part of a set of objects - also including chairs and shelves - in which the New-York based Italian designer gives form to his idea of a ‘differentiated seriality’.

All pieces of the “Nobody’s Perfect” series are industrially produced, yet they also look and feel as unique. In fact, each worker who is in charge of their production is asked to complete Pesce’s instructions by choosing himself the colour, quantity and transparency of the polyurethane resins used to manufacture the objects. The soft, rubbery surface of Nobody’s Perfect Table adds up to a visionary work defying any fixed category or definition.

意大利设计师 加埃塔诺·佩谢的实验性作 品，在于探讨艺术和工业之间的界限，以至 於造就了这件耗时费力独一无二的艺术品。 无人的桌子，与品牌 零设计(Zerodisegno) 相互理解沟通后，所产出的结果，同一系列 中还包含了椅子、架子等等。工作室设立於 纽约的意籍设计师 加埃塔诺·佩谢给与了这 个系列 “构成区別的连续性“的概念。 事实上，“Nobody’s Perfect”这一系列 的所有作品都是由工业的方式生产的，每件 作品不论视觉上或是触觉上皆是独一无二， 无可替代的。在生产过程中，每位负责这 条生产线的工人都被要求遵照佩谢的指示， 包含了佩谢亲自挑选的颜色、规定的数量， 及用于制造这个系列的树脂的透明度。而桌 子柔软以及橡胶般的表面除了展现出与一般 桌子相违背的冲突感，却也增加了想像的空 间，这张““没人是完美的“系列桌子“挑 战了当时市场上任何既存的固态目录和物件 的定义。

Nobody’s Perfect Table /“没人是完美的“系列，桌子

Nobody’s Perfect Table /“没人是完美的“系列，桌子

Original edition / 原创版

Malabar Bookcase / 马拉吧书架 1982

Malabar Bookcase / 马拉吧书架

Very good modernariato conditions / 状况非常优良极佳

Ettore Sottsass Made in Italy by Memphis, 1982 235 X 50 X 254 cm Briar wood, Abet Laminati’s laminates, Metal.

The piece features the manufacturer’s label Very good modernariato conditions

埃托雷·索特萨斯(Ettore Sottsass) 曼菲斯工作室出产，1982 235 X 50 X 254 公分 石南木、意大利Abet Laminati贴面板材、 金属。附有製造商标签 状况非常优良

Malabar Bookcase / 马拉吧书架

Few objects express the revolutionary poetics of the Memphis movement as this 1982’s original bookshelf by Ettore Sottsass does. Malabar is a representation of Sottsass’ intent to elaborate a radically new decor, in which emotions and feelings come before functionality, and symbols and styles can be mixed with no regard for coherence or historical hierarchies.

Malabar is asymmetrically cut in two different parts. It has a monumental stature, yet it is assembled with a collage of discordant materials, ranging from briar wood to the renowned Abet Laminati’s cladding. Colours and textures are similarly mismatched.

In the late Eighties, Sottsass came to describe his research as an ‘anthropological statement’. Indeed, there is no doubt that any understanding of the history of the late 20th century’s visual culture must pass through the productions of the Memphis group. Within that latter collection, the Malabar bookshelf stands out as a masterpiece.

只有少数的物件可以像1982年意大力设计师 埃托雷·索特萨斯(Ettore Sottsass)所设计的 书架一样，表达了曼菲斯运动时期革命性的 设计诗学。马拉吧是 索特萨斯全心全意精心 设计出来的一件新装饰家俱，也是代表作之 一。在我们探讨这件作品实际的功能之前， 这件家俱所散发出的情感和艺术氛围，就已 经令人明显地感受到它是一件超越了家俱设 计的艺品。而它象征的标识及风格可融入任 一不一致的风格或是历史阶级制度之中。 马拉吧的造型是左右不对称的。它具有极大 的纪念价值及精神声望，它是由不一致的材 质所拼接而成，如拼贴艺术一般，从石南木 到Abet Laminati包覆的知名板材，颜色和 质地都是相似但不互相搭配的。 在80年代末，索特萨斯描述他个人的研究就 像是“人类学的陈述“，事实上，毫无疑问 地，任何20世纪后期的视觉历史文化都必 须经过曼菲斯团体的生产投入。在后半期的 系列之中，马拉吧书架脱颖而出成为一件杰 作。 这个兼具房间分隔家俱的书架在2013年时， 被the Abet Laminati公司在Bra的美术馆列 为重点作品。

This bookshelf and room divider is featured in the Abet Laminati’s company museum opened in Bra (Turin) in 2013.

Malabar Bookcase / 马拉吧书架

Malabar Bookcase / 马拉吧书架

Original edition / 原创版

Pylon Chair / 派伦椅 1992

Pylon Chair / 派伦椅

Excellent modernariato conditions / 状况极佳

Tom Dixon Made in Italy by Cappellini, 1992 130 X 70 X 50 cm Lacquered steel wire Excellent modernariato conditions

汤姆·迪克森(Tom Dixon) 意大利傢俱製造商 Cappellini製造, 1992 130 X 70 X 50 公分 钢条清漆表面处理 状况极佳

Pylon Chair / 派伦椅

Today, Tom Dixon is one of the design world’s main superstars. But in the late 1980s he was young and with little experienced when he was discovered by the entrepreneur Giulio Cappellini.

The Pylon Chair is one of Dixon’s most striking creations for Cappellini. This atypical armchair in steel wire, lacquered in natural aluminum, was first produced in 1992. A similar fascination for the industrial aesthetics and materials has remained a constant in Dixon’s works since then. 汤姆·迪克森(Tom Dixon)，当前国际一线 当红的超级设计明星之一。在1980末，当 他还年轻并无太多经验的时候，被意大利家 俱制造商的创办人Giulio Cappellini看中并 挖掘。这张派轮椅是他为Cappellini设计的 作品中，最为出名的一件作品。而这张非典 型，由钢线构成，以及天然铝表面处理的手 扶椅，是在1992年第一批生产的派轮椅。自 那时起，极具魅力的工业美感以及材质已经 永久留在迪克森的作品中了。

Pylon Chair / 派伦椅

Pylon Chair / 派伦椅

Original edition / 原创版

I Soli Table / “太阳”, 桌子 1980s

I Soli Table / “太阳”, 桌子

Very good modernariato conditions / 状况非常优良

Alessandro Mendini Made in Italy by Studio Alchimia, 1980s Height 73 X 180 cm (diameter) Glass and varnished wood Very good modernariato conditions

亚历山德罗·门迪尼(Alessandro Mendini) 阿基米亚工作室出产, 1980年代 73 X 180 (直径)公分 玻璃、木头、木漆。 状况非常优良

I Soli Table / “太阳”, 桌子

I Soli (‘The Suns’) is a little-known gem from Alessandro Mendini’s acclaimed production from the Eighties. This work was produced for the Alchimia movement, whose typical attention to the symbolic dimension of furniture is here evident in the elements composing the table. The spheric, lacquered wood body and the glass top are interconnected as if they were astronomical objets, the former a planet and the latter its planetary rings.

I Soli represents a self-ironic commentary on Italy’s pervasive food culture. It proposes the image of the dining table as a force of attraction around which Italian families spend important moments of their daily life. The spiked cover can be either lifted, opening up a storage space in the middle of the table, or turned upside town and become a bright yellow fruit tray. “太阳“，是80年代由意大力设计师 亚历 山德罗·门迪尼(Alessandro Mendini)的好 评系列作品中，一件鲜为人知的珍作。这张 桌子为当时阿基米亚运动时的产物，从对于 家俱的典型观点到转换物件的象征意义，是 这张桌子组成元素。桌子中间上漆的木头球 形体以及玻璃桌面如同天文中的物件一样， 并未连接在一起，就如同行星及其行星环一 样。 “太阳“是一件对于意大利无处不在的饮食 文化的自我嘲讽的评论.它提出了一张餐桌的 景象，就像是一个万有引力一般，使每个意 大利家庭一起度过他们日常生活中每个重要 的时刻。桌子中间凸起的刺不但是盖子也是 盘子，拉起打开后内部便是一个储物空间， 或是可将盘子反转使之成为一个桌子中央的 水果盘。

I Soli Table / “太阳”, 桌子

I Soli Table / “太阳”, 桌子

Limited edition / 限量版

Greene Street Chair / 格林街椅 1984

Greene Street Chair / 格林街椅

Very good modernariato conditions / 状况非常优良

Gaetano Pesce, 1984 Made in Switzerland by Vitra, 2005 (limited edition) 94 X 50 X 40 cm Fiberglass-reinforced polyester resin, numbered piece (66/100) provided with certificate of authenticity Very good modernariato conditions

加埃塔诺·佩谢（Gaetano Pesce）, 1984 瑞士傢俱公司Vitra製造,2005限量版 94 X 50 X 40 cm 玻璃强化纤维聚酯树脂、钢，100件限量版 中的第66号，附有来源证明。 状况非常优良

Greene Street Chair / 格林街椅

The Greene Street Chair, named after a street in New York’s Manhattan close to Gaetano Pesce’s studio, is a remarkable work halfway between art and design.

Realised in fiberglass reinforced polyester resin, this shiny chair presents a subtle zoomorphic appearance. The features of a human face can be recognised in the backrest, while the eight thin steel legs ending with as many hemispherical footpads evoke an imaginary animal creature.

The Green Street Chair has been produced

by Vitra in a limited, numbered edition in 1984, with each model being uniquely marked by a red sign located on a different part of the seat. As a miniature version of the same chair is on sale in the Vitra Design Museum Shop, an aura of legend has grown around the original object throughout time. The Green Street Chair exceptionally available in Vernice Italiana’s catalogue is signed as number 66 out of a production of 100. 格林街椅，取名自纽约曼哈顿中，靠近佩谢 工作室的一条街。格林街椅，一件介于艺术 与设计，令人值得注目的家俱。塑形於玻璃 强化纤维聚酯树脂，这闪闪发光的椅子呈现 出拟似一只动物的微妙外观。椅背上一个极 似人脸的图案。当八只钢条制的椅脚与半球 状的椅脚垫结合，更唤起我们直接联想到动 物的生物。 格林街椅已经被Vitra限量生产，1984年为版 本编号，每一张椅子模型都拥有一个独特的 红色标记在座位不同的地方。格林街椅的缩 小版模型，现在，限量100张的格林街椅中 的第66号，意外地在Vernice Italiana的目 录中贩售。而当格林街椅袖珍版的模型开始 在Vitra Design Museum贩售时，也就意味 着这件经典家俱的魅力随着时间的推移不减 反增。

Greene Street Chair / 格林街椅

Greene Street Chair / 格林街椅

Unique piece / 唯独一件

Seguso Murano Sculpture / 毖古索的穆拉诺岛玻璃艺品 1974

Seguso Murano Sculpture / 毖古索的穆拉诺岛玻璃艺品

Excellent modernariato conditions / 状况非常优良

Livio Seguso Made in Italy by Seguso, 1974 105 cm (height) Murano glass Excellent modernariato conditions

李维·毖古索（Livio Seguso） 毖古索在穆拉诺岛製造，1974 高105 公分 穆拉诺玻璃 状况极佳

Seguso Murano Sculpture / 毖古索的穆拉诺岛玻璃艺品

Livio Seguso was born in 1930 and throughout the decades he has affirmed himself as one of the main heirs of the Murano glassblowing’s thousand-year old tradition. The activity of this master is often linked with the Seguso family firm, established in the Venetian lagoon in early Twentieth century. Seguso’s exquisite pieces have been exhibited worldwide and they are part of the permanent collections of institutions including New York’s Corning Museum of Glass, Japan’s Hokkaido Museum of Modern Art, Cologne’s Kunsthaus Am Museum, and Prague’s Narodni Galerie. This signed sculpture, in which glass almost seems to turn into flames, as if reverting the material’s ancient production technique, represents one of Seguso’s most notable works from the central part of his long career. 李维·毖古索生于1930年，经过了几十年的 玻璃吹制经历，他自称为威尼斯 穆拉诺岛 上，拥有千年传统玻璃吹制的主要继承人之 一。这位大师的作品，通常都是和家族企业 相关联，这些20世纪早期创立于威尼斯泻湖 的家族企业。毖古索的优雅微妙的作品已参 与世界各地的展览，同时也被永久收入纽约 玻璃康宁玻璃博物馆，以及日本北海道立近 代美术馆，科隆的，以及布拉格国家美术馆 的馆藏作品列之中。这件簽名的玻璃艺品， 近乎变成火焰般的玻璃质感，就像是重返了 古老的玻璃制作技术，重新表达了毖古索事 业中的焦点，并为最令人关注的作品之一。

Seguso Murano Sculpture / 毖古索的穆拉诺岛玻璃艺品

Seguso Murano Sculpture / 毖古索的穆拉诺岛玻璃艺品

First edition / 第一版

Gio Ponti’s Cavallo Sculpture / 吉奥·庞蒂的马银器 1978

Gio Ponti’s Cavallo Sculpture / 吉奥·庞蒂的马银器

Very good modernariato conditions / 状况非常优良

Gio Ponti Made in Italy by Lino Sabattini, 1978 18 X 45 X 10 cm Silvered metal, featuring manufacturer’s mark Very good modernariato conditions

吉奥·庞蒂 银器制作师 利诺·萨巴蒂尼(Lino Sabattini)製作，1978 18 X 45 X 10 公分 银板，印有製造商标 状况非常优良

Gio Ponti’s Cavallo Sculpture / 吉奥·庞蒂的马银器

The collaboration between the Italian architecture master Gio Ponti and the silver manufacturer Lino Sabattini has lasted for more than two decades, starting in the mid 1950s. The result is an extraordinary fascinating collection, including cutleries, vases and candlesticks, teapots, and decorative sculptures. This beautiful Cavallo (The horse) was firstly produced in 1978, one year before Ponti’s death, and then reissued in 2008. Talking about Sabattini’s works, Ponti once declared: “His flawless silvers satisfy both my critical eye and the demands made by my judgment”. 从1950年开始，意大力建筑大师 吉奥·庞蒂 (Gio Ponti)以及银器制作家 利诺·萨巴蒂尼 (Lino Sabattini)，便开始合作超过20年载。 这一非凡的，令人惊豔的系列，包含了餐 具、花瓶、烛台、茶壺，以及装饰性的雕塑 品。这件为1978年时的第一批生产商品，就 在庞蒂过世的前一年，之后在2008年才再次 改版发售。说到了萨巴蒂尼的作品，庞蒂曾 经说过“他所制作的完美的银器，已经满足 了我充满挑剔，批判的双眼，以及的我个人 批评标準之下的强烈要求”。

Gio Ponti’s Cavallo Sculpture / 吉奥·庞蒂的马银器

Gio Ponti’s Cavallo Sculpture / 吉奥·庞蒂的马银器

First edition / 第一版

Gio Ponti’s Madre e Figlia Sculpture / 吉奥·庞蒂 - 母亲与女儿 1978

Gio Ponti’s Madre e Figlia Sculpture / 吉奥·庞蒂 - 母亲与女儿

Good modernariato conditions / 状况非常优良

Gio Ponti Made in Italy by Lino Sabattini, 1978 30 cm (height) Silvered metal, featuring manufacturer’s mark Good modernariato conditions

吉奥·庞蒂 银器制作师 利诺·萨巴蒂尼(Lino Sabattini)製作，1978 高30公分 银板，印有製造商标 状况非常优良

Gio Ponti’s Madre e Figlia Sculpture / 吉奥·庞蒂 - 母亲与女儿

In this poetic silver sculpture, here proposed in the original 1978’s version, the two faces of a mother and her little girl stand close to each other, springing from a unique base.

This design by Gio Ponti - manufactured by the Lino Sabattini company - is one of the Italian master’s very last works made before his death. Ponti, who was born in 1891 and is the acclaimed father of Milan’s Pirelli Tower, Europe’s highest skyscraper in the early Sixties, collaborated with the younger Sabattini (b. 1925) for more than twenty years. The two men were also friends and together they perfected the art of silver design with products including cutleries, vases, teapots, and decorative objects. 这件极具诗意的银器艺品，是1978年所制 作的原版版本。这件作品里，一张为母亲的 脸，一张为女儿的脸，形成一件独一的底座 相互衬托著。这件设计艺品是由意大利设计 大师 吉奥·庞蒂(Gio Ponti)设计，由 利诺· 萨巴蒂尼(Lino Sabattini) 的公司所生产， 是 吉奥·庞蒂生前最后一件原创作品。庞蒂 生于1891年，被誉为米兰 倍耐力塔(Pirelle Tower)之父， 60年代早期欧洲最高的摩天楼 的建筑设计师。当时庞蒂已经和与年轻的萨 巴蒂尼的合作已超过20年，这两位大师不仅 是朋友，还共同结合了银器设计与高级工艺 以达到完美境界，其中他们的合作项目包含 了餐具、花器、茶壺，以及装饰物件。

Gio Ponti’s Madre e Figlia Sculpture / 吉奥·庞蒂 - 母亲与女儿

Gio Ponti’s Madre e Figlia Sculpture / 吉奥·庞蒂 - 母亲与女儿

Original edition / 原创版

Italia 1950 Cocktail Cabinet / 1950的意大力藏酒柜 1950S

Italia 1950 Cocktail Cabinet / 1950的意大力藏酒柜

Good modernariato conditions / 状况优良

Unknown vintage designer Made in Italy, 1950s 110 X 125 X 40 cm Wood, decorated glass and metal structure Good modernariato conditions

未知义大利vintage设计师 意大利製造,1950年代 110 X 125 X 40公分 木头、装饰玻璃、金属架 状况优良

Italia 1950 Cocktail Cabinet / 1950的意大力藏酒柜

Among the pieces of furniture that enjoyed widespread appeal in 1950s’ Italy, cocktail cabinets were particularly regarded as symbols of social status. Today, design collectors will appreciate this work for it embodies a uniquely Italian retro style. It is the same style that American film director Wes Anderson has recuperated for Bar Luce, the ‘typical Italian bar’ he was asked to design for Milan’s new Fondazione Prada cultural centre, inaugurated in spring 2015.

The delicate and playful decorative pattern of this wooden cocktail cabinet’s glass top also seems to anticipate Ettore Sottsass’ chromatic experiments elaborated with the Memphis group in the 1980s. 在1950年，当意大力家俱被大量宏扬的年 代，藏酒柜特別可被视为社会地位的象征。 今天，设计收藏家将意识到这件意大利式特 有的复古家俱魅力。然而進來，美国电影导 演 Wes Anderson为咖啡厅 Bar Luce重现 了这个复古风潮，“典型的意大力吧”， 他被Fondazione Prada邀请去设计他们在 2015年春天開幕的米兰新文化中心舉行開 幕。这件木制酒柜的玻璃顶端上层精致且活 泼的图案似乎像是預知了未来一般，Ettore Sottsass的色彩实验阐述了1980年的曼菲斯 团体。

Italia 1950 Cocktail Cabinet / 1950的意大力藏酒柜

Italia 1950 Cocktail Cabinet / 1950的意大力藏酒柜

Limited edition / 限量版

Ginza Robot Special Miniature / 银座机器人柜子袖珍版 1982

Ginza Robot Special Miniature / 银座机器人柜子袖珍版

Good modernariato conditions / 状况优良

Masanori Umeda Made in Italy by Memphis, 1982 (limited edition) 30 cm (height) Wood and Abet Laminati’s laminates, signed and numbered (79/500) by the author Good modernariato conditions

Masanori Umeda 曼菲斯工作室出产,1982限量版 高30公分 木头、意大利Abet Laminati贴面板 材，500件限量版中的第79号 状况优良

Ginza Robot Special Miniature / 银座机器人柜子袖珍版

This is a miniature version of the renowned Ginza bookcase realised by the Tokyobased designer Masanori Umeda for the Italian avant-guard Memphis in 1982. This original piece, with its robot-like shape, is inspired by Japan’s rise as a hi-tech force which seemed unstoppable in the early Eighties. The signed miniature, provided with its original wooden box, is a humorous reminder of Memphis’ nonconformist spirit and international reach. 这个袖珍版的Ginza 书柜是日本设计师 Masanori Umeda为当时意大利先锋艺术团 体曼菲斯(Memphis) 在1982所设计，这原版 作品的机器人外观，是启发于日本80年代早 期高科技产业的快速进步。这件提供了最初 的木制盒子并附有簽名的袖珍版本，是来自 於曼菲斯不安于世的精神，并具国际级设计 水準的幽默提示。

Ginza Robot Special Miniature / 银座机器人柜子袖珍版

Ginza Robot Special Miniature / 银座机器人柜子袖珍版

Original edition / 原创版

Spiritello Sculpture / 小精灵 1980S

Spiritello Sculpture / 小精灵

Good modernariato conditions / 状况优良

Alessandro Guerriero Made in Italy by Alchimia, 1980s 31 cm (height) Lacquered metal Good modernariato conditions

亚历山大·圭利耶罗（Alessandro Guerriero） 阿基米亚工作室出产,1980年代 高31公分 金属漆表面处理 状况优良

Spiritello Sculpture / 小精灵

Spiritello (The Sprite) is a little metal sculpture by Alessandro Guerriero, the founder of the seminal Alchimia design-andart movement. It has been realised at the heyday of Alchimia’s creative production, in the mid 1980s. With its energetic silhouette and glittering colour, it perfectly represents Guerriero’s desire to challenge the seriousness of much contemporary Western and Rationalist design, by introducing cheerful symbolic elements in the domestic environment. 小精灵，由亚历山大‧圭利耶罗所设计的一个 小型金属摆件，为阿基米亚工作室，设计与 艺术运动的创办人之一。小精灵为1980年中 期，阿基米亚工作室全盛时期的创作产物。 凭著它充满活力的线条轮廓和活泼的色彩， 完美地呈现了圭利耶罗渴望挑战当时盛行於 欧洲严肃且理性设计，透过家庭室内环境， 更能呈现出这件令人愉悅的设计。

Spiritello Sculpture / 小精灵

Spiritello Sculpture / 小精灵

Original edition / 原创版

Joe Colombo’s 4811/5 Armchair / 乔·科隆博的扶手椅 1965

Joe Colombo’s Armchair / 乔·科隆博的扶手椅

Good modernariato conditions / 状况优良

Joe Colombo Made in Italy by Kartell, 1965 65 X 70 X 60 cm Bent varnished plywood Good modernariato conditions

乔·科隆博 意大利傢俱製造商Kartell製造, 1965 65 X 70 X 60公分 弯板合成木与黑漆 状况优良

Joe Colombo’s Armchair / 乔·科隆博的扶手椅

This small armchair - available in our catalogue in a set of two pieces - was created by Joe Colombo for Kartell in 1965.

It shows how the Milanese designer (193071), mostly remembered for his futuristic, speculative projects, also had a strong interest in confronting traditional furniture typologies. This work, elegantly realised in bent plywood, is composed by three interlocking pieces and painted in deep black. 在我们目录中，这张椅子分为两件，是 乔· 科隆博(Joe Colombo) 在1965年为家具商 kartell 所设计的。这张椅子展现了一位以未 来主义和理论设计著名，来自米兰的设计大 师，同时却也对传统家俱类別有著强烈的兴 趣。这项作品，以合成木弯板的方式制作， 三点内崁组合，最后被漆为黑色。

Joe Colombo’s Armchair / 乔·科隆博的扶手椅

Joe Colombo’s Armchair / 乔·科隆博的扶手椅

Volga Vase / Volga花器 1985

Volga Vase / Volga花器

Excellent modernariato conditions / 状况极佳

Matteo Thun Made in Italy by Memphis, 1983 50 cm (height) Porcelain Excellent modernariato conditions

马蒂奥·图恩 曼菲斯工作室出产,1983 高50公分 陶瓷 状况极佳

Volga Vase / Volga花器

Matteo Thun’s works can often be read as statements of unrestricted vital energy.

Volga, a porcelain sculpture created for the Memphis group during the Eighties, is clearly no exception. This original piece is both a tribute to the Argentinian writer Jorge Luis Borges’ “Book of Imaginary Beings”, and an homage to the folk art’s archetypical representations of fertility. 马蒂奥·图恩的作品往往可被解读为不受 限且生机勃勃的阐述。Volga,一件瓷器艺 品，无疑是在80年代曼菲斯时期所创作的。 这件原创作品不仅是向阿根廷作家Jorge Luis Borges所写的“Book of Imaginary Beings”致敬，同时也是对民间艺术丰富的 生产力的典型代表表达敬意。

Volga Vase / Volga花器

Volga Vase / Volga花器

Limited edition / 限量版

Striped Amphora / 细颈线条花器 1950

Striped Amphora / 细颈线条花器

Excellent modernariato conditions / 状况极佳

Aldo Londi, 1950 Made in Italy by Bitossi, 2003 (limited edition) 50 cm (height) Ceramic, numbered as 2 out of 199 Excellent modernariato conditions

奥多·隆第 (Aldo Londi), 1950 意大利陶器製造公司 Bitossi製造,2003限量 版 高50公分 陶瓷，199件限量版中的第2号 状况极佳

Striped Amphora / 细颈线条花器

Soon after the death of ceramic artist Aldo Londi in 2003, the Tuscan brand Bitossi reissued some of Londi’s best historical designs in an exclusive limited edition. This vase, accurately reproducing the original 1950’s design, is marked as number 2 out of a production of 199 pieces. 很快地，在陶艺家Aldo Londi於2003年辞世 后，来自托斯卡尼的品牌Bitossi以独家限量 版本的方式，重新发表了Londi有史以来最好 的设计作品。这件花瓶，明显地重现了1950 年的原本设计，并被标记为199件限量生产中 的第二件。

Striped Amphora / 细颈线条花器

Striped Amphora / 细颈线条花器

Unique piece / 唯独一件

Flamboyant Murano vase / 火焰式穆拉诺玻璃花器 1950s

Flamboyant Murano vase / 火焰式穆拉诺玻璃花器

Excellent modernariato conditions / 状况极佳

Unkwown artist Made in Italy in the 1950s 42 X 16 X 16 cm Multicoloured Murano glass Excellent modernariato conditions

不知名艺术家 意大利製造,1950年代 42 X 16 X 16公分 多色穆拉诺岛玻璃 状况极佳

Flamboyant Murano vase / 火焰式穆拉诺玻璃花器

This sophisticated glass-work was crafted in the Venice lagoon’s Murano island in the 1950s. It is a flamboyant piece emanating a contagious zest for life. 这款精致的玻璃艺品，是在50年代，於威 尼斯泻湖中的穆拉诺岛上制作的。这件辉耀 的花瓶，自然而然地將生活渲染出了一种情 调。

Flamboyant Murano vase / 火焰式穆拉诺玻璃花器

Flamboyant Murano vase / 火焰式穆拉诺玻璃花器

Original edition / 原创版

Ico Parisi’s cabinet / “伊科’帕里斯的木柜子 1960s

Ico Parisi’s cabinet / “伊科’帕里斯的木柜子

Excellent modernariato conditions / 状况极佳

Domenico Parisi Made in Italy by Stildomus in the 1960s 76 X 45 X 215 cm Rosewood Excellent modernariato conditions

多梅尼科·帕里斯（Domenico Parisi） 意大利傢俱製造商 Stildomus製造,1960年代 76 X 45 X 215 公分 玫瑰木 状况极佳

Ico Parisi’s cabinet / “伊科’帕里斯的木柜子

The Sicilian-born architect Domenico ‘Ico’ Parisi is a cult figure for the collectors of Modernist Italian design. His projects from the central decades of the 20th century are wonderfully represented by this rosewood cabinet with sliding doors and four drawers.

This masterful object reveals an outstanding attention to details, ranging from the handles’ decorations to the legs’ impeccable carving. 西西里建筑师多梅尼科“伊科’帕里 （Domenico‘Ico’Parisi）也是一位摩登 義大利設計收藏家該熱愛的對象。这件帶有 二个拉门以及四个抽屉的玫瑰木制柜子，完 美地重现了他20世纪中开始的作品。从把手 的装饰到无可挑剔的柜脚雕刻，这极为气派 的柜子无疑地展现了它的杰出的细节。

Ico Parisi’s cabinet / “伊科’帕里斯的木柜子

Ico Parisi’s cabinet / “伊科’帕里斯的木柜子

Original edition / 原创版

A couple of LC1 Chairs / 一对LC1 椅 1965

LC1 Chairs/ LC1 椅

Good modernariato conditions / 状况优良

Le Corbusier, Pierre Jeanneret and Charlotte Perriand, 1928 Made in Italy by Cassina, 1965.

66 X 64 X 59 cm Leather and enamelled steel frame Good modernariato conditions

科比意(Le Corbusier)、皮埃尔·让纳雷 (Pierre Jeanneret)以及 夏洛特·贝里安 (Charlotte Periand) 意大利傢俱製造商 Cassina製造, 1965 66 X 64 X 59 公分 皮革、搪瓷钢架 状况优良

LC1 Chairs/ LC1 椅

Among the major icons of furniture design in the 20th century design, this work by Le Corbusier, Pierre Jeanneret and Charlotte Perriand, firstly designed in 1928, entered in the Cassina production in 1965. LC1 features a reclining seat-back and a high-quality leather, supported by an elegant steel frame.

Our catalogue includes two identical vintage LC1 chairs in a fascinating rust colour. 在这些20世纪时所设计的知名设计家俱中， 这件由科比意(Le Corbusier)、皮埃尔•让 纳雷(Pierre Jeanneret)还有 夏洛特‧贝里 安(Charlotte Periand)於1928年首次设 计，1965年进入意大利家具商Cassina的生 产线的ＬＣ1，以可后仰的椅背，及其高品质 的皮革材质为特点，并被那优雅的钢质框架 支撑着。我们的目录里包含了两件相同带有 锈色的LC1设计古董品。

LC1 Chairs/ LC1 椅

LC1 Chairs/ LC1 椅

In principle, a collection of Modernariato can fully be appreciated only by deeming the process of ageing as a factor which enhances the worth of an object, for it ties a material product with a unique, prestigious history.

All the works in the Vernice Italiana’s catalogue have been carefully selected for their artistic value and extraordinary workmanship. However, considering many objects’ long life and past usage, little signs of wear may appear in specific cases.

Vernice Italiana’s following system of classification is intended to provide a general understanding of the conservation status of each piece. In any case, no possible defect is such as to undermine the quality of our works, which all fully embody the constant attention for details and beauty which is typical of the great Italian design.

Vernice Italiana’s classification of conservation statuses: • •

•

Excellent modernariato conditions: The piece looks wonderfully preserved Very Good modernariato conditions: The piece looks wonderfully preserved with minor signs of wear Good modernariato conditions: The piece looks charmingly aged with small signs of wear

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