The 1906 Sempione International Exhibition in Milan marked a pivotal moment in the career of Ernesto Basile, one of the foremost architects in Italian Modernism and the Liberty style. Basile was already at the height of his career, renowned for his work with aristocratic and upper-middle-class clients seeking to revive their cultural roots through architecture. His projects in Palermo, such as the Villino Florio (1899-1902) and Villa Igea (1899-1900), were emblematic of a broader movement to rejuvenate Sicilian culture and identity. At the Milan Exhibition, Basile showcased a selection of his architectural designs from 1899 to 1906, including five complete furniture sets produced by the Ducrot furniture factory.
The Sicilian architect's work reflected his commitment to 'Mediterranean Modernism', a style that sought to merge the spontaneous architectural traditions of the Mediterranean—particularly those of Sicily—with new expressive and functional approaches. He investigated the genuine Mediterranean heritage, with a particular reference to Sicilian free-spirited architecture while also exploring unprecedented forms and new production logistics. He focused on developing furniture systems that could be produced on a large scale, adhering to mechanised production methods without compromising aesthetic quality.
At the 1906 Milan Exhibition, one of the exceptional elements of Basile's work was his 'Carretto Siciliano' furniture series, inspired by the vibrant folkloric motifs of traditional Sicilian carts. The carts, ornately decorated and historically used for transporting goods, such as wood and agricultural products, became a defining symbol of Sicilian culture in the 19th century. The creation of a Sicilian cart involved a complex collaboration between artisans, from the 'carradore', who built the cart, to the painter, each contributing their specialised skills to the intricate process.
Sicilian cart.
Image: © Marzolino | Dreamstime.comBeyond their function, Sicilian carts were visual storytellers, depicting historical events, religious tales, or scenes of chivalry. This tradition served multiple purposes. Decorations not only protected the wood but were also imbued with superstitious and apotropaic beliefs. The scenes were considered good luck charms, able to ward off bad fortune and ensure prosperity for the owner and his family. The vivid colours and geometric patterns that adorned the carts were part of a tradition that merged practicality with cultural expression, transforming everyday objects into spectacular works of art.
With the present lots (lots 137, 138 and 140), Basile reinterpreted the carts' rich cultural heritage through a modern lens by simplifying forms, incorporating geometric decorations and adopting modern production methods. In doing so, Basile worked towards what can be described as the 'scientisation' and adaptation of traditional assembling systems. These designs demonstrated Basile's ability to blend traditional elements with modern aesthetics.
Mobilificio Ductot's historical advertisement image of the 'Carretto Siciliano' series, 1906.
Image: Ettore Sessa, Ernesto Basile: dall'Eclettismo Classicista al Modernismo, Palermo, 2002, p. 293A decisive aspect in the success of the 'Carretto Siciliano' series was Basile's collaboration with the Ducrot furniture factory in Palermo (previously known as Fabbrica di mobili Carlo Golia & C.). Under the direction of Vittorio Ducrot, the factory became one of the largest and most innovative in the Italian furniture industry, largely due to the partnership with Basile. As the artistic director from 1902-03, Basile played a crucial role in shaping the factory’s output, particularly through the creation of modular furniture systems designed for international exhibitions. The Milan Exhibition of 1906 was a major platform for this collaboration, showcasing the fusion of artistic vision and industrial efficiency that defined Basile’s work. The 'Carretto Siciliano' furniture series received widespread critical and public acclaim, cementing Basile's reputation as a visionary in Italian design.
Provenance
Private collection, Forlì
Literature
Ettore Sessa, Mobili e Arredi di Ernesto Basile nella Produzione Ducrot, Palermo, 1980, p. 104
Giuliana Ricci, Paola Cordera, Per l'Esposizione, Mi Raccomando..! Milano e l'Esposizione Internazionale del Sempione del 1906 nei Documenti del Castello Sforzesco, exh. cat., Castello Sforzesco, Milan, 2011, p. 128
Guy Cogeval, Sept Ans de Réflexion. Dernieres Acquisitions du Musée D'Orsay: 2008-2014, exh. cat., Musée d'Orsay, Paris, 2014, pp. 124, 200
Eliana Mauro, Ettore Sessa, Collezioni Basile e Ducrot: Mostra Documentaria degli Archivi, Bagheria, 2014, p. 90Catalogue Essay
The present model armchair was exhibited at the Milan International Exhibition in 1906 and is in the permanent collection of the Musee d'Orsay in Paris, France.
137
Pair of adjustable armchairs, from the 'Carretto Siciliano' series
circa 1906
Painted wood, oak, rush, painted steel.
Each: 106.5 x 79 x 70 cm (41 7/8 x 31 1/8 x 27 1/2 in.)
98.5 x 79 x 86 cm (38 3/4 x 31 1/8 x 33 7/8 in.), fully extended
Produced by Mobilificio Ducrot, Palermo, Italy.
Estimate
£3,000 - 5,000 ‡
Sold for £11,430
Antonia King
Head of Sale, Design
+44 20 7901 7944
Antonia.King@phillips.com
Design
London Auction 13 November 2024
