Earle D. Vandekar of Knightsbridge, Inc.
Downingtown, PA
Details
- Dimensions
- 10.25ʺW × 2ʺD × 10.25ʺH
- Artist
- Piero Fornasetti
- Brand
- Piero Fornasetti
- Designer
- Piero Fornasetti
- Period
- 1980s
- Country of Origin
- Italy
- Item Type
- Vintage, Antique or Pre-owned
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- Materials
- Porcelain
- Condition
- Good Condition, Original Condition Unaltered, Some Imperfections
- Color
- Gold
- Condition Notes
- Good condition Good condition less
- Description
-
Adam!
Vintage Piero Fornasetti Gold Adam Porcelain Plates,
1970s.
A complete set of twelve vintage painted gold ground transfer-printed porcelain … more Adam!
Vintage Piero Fornasetti Gold Adam Porcelain Plates,
1970s.
A complete set of twelve vintage painted gold ground transfer-printed porcelain plates in black and white on a gold ground which as a group depict the biblical Adam.
Dimensions: 10 1/4 inches diameter x 2 inches deep
Marks: On bottom, transfer printed in black, on rim: "ALTO/HAUT/TOP [inside scroll pierced by arrow]". On bottom, transfer printed in black, center: "[Leaf]/1 (through 12)/Adam FORNASETTI . MILANO/MADE IN ITALY"
Green under-stamp for Scherzer.
Reference:
Fornasetti: Designer of Dreams, Patrick Mauriès, page 238, the author writes- The idea of dividing up the bodies of Adam and Eve into twelve dinner plates is surely one that no one but Fornasetti would conceive. They were designed in 1954. Each plate has its attractions, but like a jigsaw puzzle they only reveal their meaning when seen together.
Fornasetti: The Complete Universe, edited by Barnaba Fornasetti, Page 283, #45 & page 600, # 122 for an Adam and an Eve in the 4 inch coaster format.
The following is an online entry accompanying plates from the Eve series in the Brooklyn Museum's Collection.
Plate, Eva
Today when we think of where inventive contemporary design is manufactured, we often think of Italy. This, however, was not always the case. Wide acceptance of modern design came somewhat later in Italy than elsewhere, perhaps because of the ever-present conservative influence of the palpable Roman classical past and the slow development of the Italian economy in the twentieth century. To be sure, before World War II there were important modern designers in Italy, foremost Gio Ponti, an architect from Milan whose influence spread beyond his native country through two architecture and design magazines he founded, Domus and Stile. And the Fascist regime of Mussolini in the pre-World War II period did embrace modern architecture, unlike the Nazi regime in Germany, which consciously rejected modernism as a source of foreign, moral corruption. It was not, however, until the post-World War II era, when the Italian economy expanded rapidly, that Italian modern design achieved international recognition.
One pivotal event made consumers in the United States aware of the diversity and accomplishments of modern Italian design-the exhibition Italy at Work, which travelled to twelve venues between 1950 and 1954. The exhibition was initiated by the Art Institute of Chicago in partnership with two organizations devoted to the promulgation of Italian design, Handicraft Development Incorporated in the United States and its corresponding institution in Italy, CADMA. Italy at Work included hundreds of objects by more than 150 artisans and manufacturers and featured furniture, ceramics, glass, textiles, metalwork, jewelry, shoes, knit clothing, and industrial design. The exhibition opened at the Brooklyn Museum, and at its conclusion, when the objects were dispersed among the host institutions, the lion's share, more than two hundred items, came to the Museum.
In the second half of the twentieth century, Italy became a center for modern design. Many foreigners went there to study and work at small, adventurous firms that produced high-quality objects.
(Ref NY9615A-irrr) less
Earle D. Vandekar of Knightsbridge, Inc.
Downingtown, PA
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