Set of two Post Modern Mandarin Chairs. Designed in 1986 by Ettore Sottsass for Knoll. One continuous contrasting white steel piece wraps around the back and under the chair to create a beautiful shape, and arms. In near-perfect condition, with one chip in the white paint on one of two chairs. Original upholstery fabric is in perfect condition. Consistent with the age of the item. Material: Tubular Steel / fabric upholstery. Ettore Sottsass, who worked with Knoll between 1983 and 1988, wanted to be everything that modernism wasn’t. The founder of a half dozen design collectives, including Giuseppe Pagano, Memphis…
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Set of two Post Modern Mandarin Chairs. Designed in 1986 by Ettore Sottsass for Knoll. One continuous contrasting white steel piece wraps around the back and under the chair to create a beautiful shape, and arms.
In near-perfect condition, with one chip in the white paint on one of two chairs. Original upholstery fabric is in perfect condition. Consistent with the age of the item.
Material: Tubular Steel / fabric upholstery.
Ettore Sottsass, who worked with Knoll between 1983 and 1988, wanted to be everything that modernism wasn’t. The founder of a half dozen design collectives, including Giuseppe Pagano, Memphis Group and Sottsass Associati. Sottsass became known for his asymmetric forms and, perhaps most of all, his use of color, often in bold, clashing combinations.
“You don’t save your soul just painting everything in white,” he once wrote. “Color can arise and be in harmony with the imperatives of structure, without destroying it.”
Produced in 1986 by Knoll, designed by Ettore Sottsass, The Mandarin Chair was a particular favorite for corporate interiors, restaurants and libraries. Its flowing, sculptural arm invoked the turn-of-the-century bentwood designs of Thonet, and was available in a variety of different color finishes that afforded the design a level of adaptability. As the original press release noted, “The chair’s character changes with its finishes, from high-tech to traditional.”
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