Prototype ‘Mariposa’ sofa, designed for the XI Milan Triennale at Phillips estimated £70,000 – 90,000 and sold for £252,000!!!
Phillips will auction a pair of armchairs by Studio BBPR on November 12 and estimates them at £20,000 – 30,000.
From each member’s family name, came the acronym “BBPR” of the partnership.
Gian Luigi Banfi was born in 1910 and passed away in 1945 in Camp Mauthausen.
Lodovico Barbiano di Belgiojoso
Ernesto Nathan Rogers (March 16, 1909 – November 7, 1969)
The BBPR studio was formed in Milan in 1932 in a climate described by Giorgio Ciucci as “oscillating between differing and contrasting positions.” Their contribution to the development of Rationalism is evident not only in their architecture but in their involvement with MIAR and the journal Quadrante born as a rival to Casabella. Their work held general appeal and was also appreciated and promoted by Edoardo Persico and Giuseppe Pagano at Casabella. Along with the editor Valentino Bompiani, the BBPR group is credited for the original idea for the Italian Civilisation building. The selection of the Guerrini-La Padula-Romano project was fraught with polemics since it is argued that their eulogy to the most Roman of architectural motif – the arch – is what won them first prize, a prize which some say deservedly belonged to the Milanese architects. Their adherence to Fascism was short-lived and they soon became members of the resistance: Banfi and Belgiojoso were imprisoned at the Mathausen concentration camp where Banfi died and Rogers, being of Jewish descent, was forced into exile in Switzerland.
The practice continued under the same name after the Second World War despite the death of Banfi in Mauthausen concentration camp.
The firm came to notice after World War II with the abstract design for the Monument to the Victims of Nazi Concentration Camps, erected within the Cimitero Monumentale di Milano. Located in the centre of an open plaza, its white, tubular frame encloses a glass cube that holds a mess tin containing blood-soaked earth from the Mauthausen-Gusen concentration camp in Austria. Panels of black and white marble bear inscriptions about martyrdom and persecution, justice and freedom. Around the Monument, a series of tombstone-shaped plaques show an alphabetical list of names of Milanesi who died in concentration camps.
BBPR reacted against the polemic of the International Style in 1954, with the creation of the Torre Velasca in Milan, complete with its abstract medieval references. The tower responds to its prominent location near the Milan Cathedral in the city’s historic centre.
The firm were subsequently employed to create new interior spaces and exhibition designs for the museums housed within Milan’s Castello Sforzesco, which had been severely damaged by allied bombing in 1943.
I’ve been working hard to move the site again to a new server. That’s the reason our e-mail followers received a notice of the Birth of Chairblog, a post that memorated an earlier change of server. Now the reason was that the site was hosted on a Centos version 6 server which Linux taste server software is coming to the end of its life span and has been replaced by Centos 7. There even is a Centos 8. Never a dull moment in hossting land.
Sold at Phillips October 18, 2018 for £16,250 while estimated at £15,000 – 20,000
October 18, 2018 two armchairs by Renzo Zavanella were sold at Phillips for £35,000 while estimated between £18,000 – 24,000.
The green PP530 Tub Chair by Hans Wegner I saw in the Design Museum Danmark in Kopenhagen.
PP Mobler about it:
Conceived in 1954 the Tub Chair was a pioneering experiment, and it turned out to be the most advanced shell chair design Wegner ever did, as the back of the chair is a complicated double bent shell comprising two individual shapes: One that is bent and one that is both bent and twisted.
Even besides the complexity of the back, the Tub Chair is a unique fusion, where Wegner merge the moulded plywood technique with upholstery and traditional work in solid wood and even adding a metal angle adjustment mechanism for the back. It is one of the most striking and brilliant examples of Wegnerâ€™s vision and courage, and still it is a most practical, usable and comfortable chair.
However, the Tub Chair was not technically possible to produce in a rational way within the lifetime of Wegner. As our techniques have developed, PP Møbler has been able to produce this great tribute and introduce this bold design in celebration of the 100 years anniversary of Wegner, one of the greatest designers of all times.
The black one I found at the auction site of Phillips where an early model was sold for UK pound 50,000 in October 2015
The Catalogue about it:
The present lot is one of two known period examples of the ‘Tub’ chair, a model which did not enter into wider production during Hans J. Wegner’s lifetime. The chair seat is composed of two pieces of fabric-covered moulded plywood. It rests on a dramatically angled oak base and is supported by a brass mechanism that allows for adjustment of the back angle. Its complexity prohibited fabrication in greater number, though it was included in the 1954 Cabinetmaker’s Guild exhibition in Copenhagen. The chair is a notable example of Wegner’s explorations into the possibilities of plywood, but ultimately the demands of employing both laminate and solid wood construction concurrently were too great and he chose to focus on the latter.
The design of the ‘Tub’ chair shares the intuitive elegance of Wegner’s other furniture, and references certain features of his most well-known chair designs specifically. While structurally more elaborate, the clamshell-form seat relates to the ‘Peacock’ chair (1947) and the forceful forward movement of the base to the ‘Folding’ chair (1949). The ‘Tub’ most closely anticipates Wegner’s ‘Shell’ chair of 1963. It is notable that even a decade after the introduction of the ‘Tub’, the ‘Shell’ form was still considered too radical for its time. It was following the ‘Shell’ chair designs that Wegner closed the chapter on his experiments with plywood. However by 1989 it was picked for the cover of the catalogue for the exhibition celebrating Wegner’s 77th birthday and has since become one of his most iconic masterpieces. The present chair is consequently a rare illustration of some of his earliest career-defining ideas.