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Torincubo

Coffee Pot
1985 (designed), 2006 (made)
Artist/Maker
Place of origin

Gabriele De Vecchi was born in Milan in 1938. His father, Piero De Vecchi, founded the Argenteria De Vecchi in 1935 in Milan and was a leading producer of historicist silver during the fascist period of the 1930s. He successfully made the stylistic transition to high modernism as that movement swept Italian craft and design in the immediate aftermath of World War II. Gabriele De Vecchi began his career not as an artisan but rather as an avant-garde kinetic sculptor. He formed the Gruppo T in 1959, together with three other like-minded young artists, and continued to stage performances and create installation art into the 1970s. In 1962 however, he took over the leadership of his father's firm and began to design objects, eventually forming strong connections to other key protagonists in Italy's design and architecture scene such as Enzo Mari. A particular interest for him has been the reflective qualities of silver - its ability to disappear visually in certain light conditions or to create dynamic patterns when placed into certain environments.

For most of his career, De Vecchi has explored this interest in perception and transformation within the boundaries of a restrained Modernist formal idiom. In the Linea Storia (`history' or `narrative' collection), however he took a very different approach. For decades, the De Vecchi atelier - like most small 20th century silver shops - had been involved not only in producing their own designs, but also in repair and replica work. One of the most beautiful historical silver designs that passed through the shop was a baluster shaped coffee pot, often enlivened with a pattern of swirled flutes, which had originated in 18th century Turin. Examples of this design are well documented in the firm's archives and library. In 1983 Gabriele De Vecchi decided to develop a line of objects based on this shape. Over the next few years he created a series of works in the Linea Storia. The two earliest designs created for the collection (the Torincubo and the Equilpiemonte) featured pure geometric shapes that seemed to have magically collided with the historical shape. De Vecchi has said that the pieces reflect "a way of thinking about design as an assembly of different parts, drawn from the historical repertory as well as my own ideas". In Equilpiemonte designed in 1983 as the first of the series, a volume whose cross section is an equilateral triangle cuts up into the body of the coffee pot. ('Piemonte' refers to the Piedmont region of Italy where Turin is located). The 1985 design Torincubo which might be translated as 'Turin cubed' is a similar gesture in which a plain walled coffee pot seems to have been flattened on its sides. A decorative cartouche, again based on historical forms, adorns the front and spout. In other works in the series (for which six further designs were eventually created, the last in 1993), the body of the coffee pot is split, rotated or otherwise manipulated.

Object details

Categories
Object type
TitleTorincubo (manufacturer's title)
Materials and techniques
Silver, raised, embossed and polished with a carved wooden handle
Brief description
Coffee pot, silver, wooden handle, 'Torincubo', designed by Gabriele De Vecchi, Milan, 1985, made by Argenteria Gabriele De Vecchi, Milan, 2006.
Physical description
Coffee pot, silver with a carved, wooden handle, the base a circular rim supporting a body of plain octagonal walls which reduce to an extended throat of broad, swirling flutes, rising to a reeded rim and a raised, everted spout. The lid, a segment of a circle with an everted cover for the spout has a plain, reeded rim and is hinged at the rear with an upright, scrolled and reeded thumbpiece. The front of the body is embellished with a chased cartouche of shellwork and C scrolls, flanked on one side by an engraved laurel leaf. The base at the rear decorated with similar chasing and a narrow, engraved band of stylised leaf decoration encircles the body, just beneath the rim and stops short at the cartouche. A carved, S shaped wooden handle is fixed by pins to two U shaped brackets, embellished with fluted rosettes, at the rear of the body.
Dimensions
  • Height: 18.7cm
  • Width: 7.8cm
  • Length: 15.8cm
Style
Production typeLimited edition
Marks and inscriptions
  • 'De Vecchi' (Manufacturer's name)
  • '925' (Within an oval cartouche. This is the European mark for the sterling standard.)
  • 'Star, 665, Mi' (Town mark for Milan)
  • 'Gabriele De Vecchi' (Signature of the designer)
  • '2006' (Year of manufacture)
  • '5/20' (Edition number)
Subjects depicted
Summary
Gabriele De Vecchi was born in Milan in 1938. His father, Piero De Vecchi, founded the Argenteria De Vecchi in 1935 in Milan and was a leading producer of historicist silver during the fascist period of the 1930s. He successfully made the stylistic transition to high modernism as that movement swept Italian craft and design in the immediate aftermath of World War II. Gabriele De Vecchi began his career not as an artisan but rather as an avant-garde kinetic sculptor. He formed the Gruppo T in 1959, together with three other like-minded young artists, and continued to stage performances and create installation art into the 1970s. In 1962 however, he took over the leadership of his father's firm and began to design objects, eventually forming strong connections to other key protagonists in Italy's design and architecture scene such as Enzo Mari. A particular interest for him has been the reflective qualities of silver - its ability to disappear visually in certain light conditions or to create dynamic patterns when placed into certain environments.

For most of his career, De Vecchi has explored this interest in perception and transformation within the boundaries of a restrained Modernist formal idiom. In the Linea Storia (`history' or `narrative' collection), however he took a very different approach. For decades, the De Vecchi atelier - like most small 20th century silver shops - had been involved not only in producing their own designs, but also in repair and replica work. One of the most beautiful historical silver designs that passed through the shop was a baluster shaped coffee pot, often enlivened with a pattern of swirled flutes, which had originated in 18th century Turin. Examples of this design are well documented in the firm's archives and library. In 1983 Gabriele De Vecchi decided to develop a line of objects based on this shape. Over the next few years he created a series of works in the Linea Storia. The two earliest designs created for the collection (the Torincubo and the Equilpiemonte) featured pure geometric shapes that seemed to have magically collided with the historical shape. De Vecchi has said that the pieces reflect "a way of thinking about design as an assembly of different parts, drawn from the historical repertory as well as my own ideas". In Equilpiemonte designed in 1983 as the first of the series, a volume whose cross section is an equilateral triangle cuts up into the body of the coffee pot. ('Piemonte' refers to the Piedmont region of Italy where Turin is located). The 1985 design Torincubo which might be translated as 'Turin cubed' is a similar gesture in which a plain walled coffee pot seems to have been flattened on its sides. A decorative cartouche, again based on historical forms, adorns the front and spout. In other works in the series (for which six further designs were eventually created, the last in 1993), the body of the coffee pot is split, rotated or otherwise manipulated.
Bibliographic references
  • Giacobone, Tersilla F. La Lingua Deglis Specchi, L'atelier De Vecchi, 50 anni di storia nell'argento (The Language of Mirrors, The De Vecchi Atelier, 50 Years of History in Silver), Milan, Electa, 1997. p-.105. ill. ISBN. 8843562568
  • Czernis-Ryl, Eva Contemporary Silver, Made in Italy, Sydney, Powerhouse Publishing in association with Lund Humphries, 2004, p. 75. ill. ISBN. 0853318999.
Collection
Accession number
M.14-2010

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Record createdJune 8, 2010
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