manufactured in 1990, carved wooden frame in the Rococo style, the white textile covering hand-painted with a Pointillist pattern, signed: 90 A. Mendini and with a dedicatory inscription to the present owner, height approx. 109 cm, width approx. 95 cm, depth approx. 90 cm, height of seat approx. 37 cm. (MHA)

The first chairs (roughly four or five) were hand-painted by Prospero Rasulo and Pier Antonio Volpini. Jesus Moctezuma decorated the subsequent examples. Later on, the chairs were coloured by Claudia Mendini, Alessandro Mendini’s daughter.

Exhibited in all of the major design museums around the globe. An example from the Robot Sentimentale exhibition is conserved in the collection of the Victoria & Albert Museum in London.

Lit.:
K. B. Hiesinger, G. H. Marcus, Landmarks of Twentieth Century Design, New York 1993, p. 274

The first chairs (roughly four or five) were hand-painted by Prospero Rasulo and Pier Antonio Volpini. Jesus Moctezuma decorated the subsequent examples. Later on, the chairs were coloured by Claudia Mendini, Alessandro Mendini’s daughter.

‘No, but earnestly, Poltrona di Proust has in fact been on my mind to this very day. I was drawing there at night. I was only thinking. I bought an old armchair, saw a Pointillist picture, and then combined the two of them. It was a purely intellectual idea.

The same goes for the Mackintosh or Rietveld designs. I love working with things that already exist. In old Italian cities one still almost works exclusively on historic buildings. For us this is something entirely natural’ (Alessandro Mendini, in: Ideen sitzen – 50 Jahre Stuhldesign 1960–2010 – 100 Sitzmöbel aus der Sammlung des Museums für Kunst und Gewerbe Hamburg, exhibition catalogue, Hamburg 2010, p. 80).

Exhibited in all of the major design museums around the globe. An example from the Robot Sentimentale exhibition is conserved in the collection of the Victoria & Albert Museum in London.

Lit.:
K. B. Hiesinger, G. H. Marcus, Landmarks of Twentieth Century Design, New York 1993, p. 274