Bernini Furniture

The form is both innovative and elegant: the desk functions seamlessly as an entrance accent, a refined workspace, or a secretary station, with a matching chair that tucks effortless...

Design Round Wooden Dining Table, Model 522 by Gianfranco Frattini for Bernini Rare and elegant Model 522 round dining table designed by Gianfranco Frattini for Bernini, Italy, 1960...

An exceptional and spirited four-person game table and chair set, this design by Antonio Virgilio for the renowned Italian manufacturer Bernini is an exercise in playful Postmodern f...

Beautiful circular table in walnut wood, with laminate and steel top, designed by Silvio Coppola for Bernini, a historic Italian design brand, in the 1970s. The table has an ingenio...

Rare and elegant wooden coffee table designed by the Italian architect and designer Gianfranco Frattini for the Bernini company (company logo present) This is an essential and very ...

Frattini graduated in architecture from the Milan Polytechnic in 1953. He opened his professional studio in Milan, after working in the studio of his teacher and mentor Gio Ponti. Hi...

Iconic sideboard designed by Gianfranco Frattini for Bernini. Italy 1960 ca. Three vertical tambour doors on one side, with three large and two smal...

Carlo Scarpa walnut and black leather chairs mod. 1934/765 for Bernini, 1977. 765 is planned by Carlo Scarpa in 1934, year from which the chair will ta...

Gianfranco Frattini for Bernini set of six walnut and black leather chairs, Italy 1981 circa. This set, designed by Gianfranco Frattini for Bernini, is characterized by a splendid co...

Frattini graduated in architecture from the Milan Polytechnic in 1953. He opened his professional studio in Milan, after working in the studio of his teacher and mentor Gio Ponti. Hi...

Original "Ribbon Chair" Model no CL9 - Design by Franca Stagi and Cesare Leonardi, manufactured by Bernini, Italy, 1961. Fiberglass and polyester seat, mounted on chromed steel frame. Age-appropriate condition. Lit.: Modern Furniture Classics...

This rare sliding door wardrobe, designed by the celebrated Gianfranco Frattini and manufactured by Bernini, Italy in 1957. It epitomizes the refined elegance of mid-century modern d...

Exquisite and very rare Pop Up Desk by Gianfranco Frattini in Italy for Bernini. Label present, and all drawer pulls are stamped with the logo. When you p...

During the 1980s, Italian design was undergoing a transformation; moving away from modernist restraint toward a language of invention and mechanical clarity. The 'Click' dining table...

Silvio Coppola for Bernini, sideboard, walnut, Italy, 1966 This geometrically convincing sideboard is designed by the Italian designer-architect Silvio Coppola. It is well-structure...

A collection of four Maya chairs crafted by Giotto Stoppino for Bernini during the 1970s, these chairs have undergone recent reupholstering with a luscious,...

More than just a bookcase but rather a small architectural masterpiece that is the focal point of any space, the Model 795 bookshelf (sometimes called the “Serie 1935” or “Liberia 19...

Rosewood secretaire with gilt brass feet and handles, features four drawers and a flap with original lock and key, designed by Gianfranco Frattini for Bernini, 1960s. CONDITION: In ...

Marvelous and incredibly rare mid-century serving bar cart with drawer in a gorgeous rosewood. This elegant piece was designed by Gianfranco Frattini and produced by Bernini in Italy...

Elegant mahogany wood desk with aluminum inserts designed by Gianfranco Frattini for Bernini in 1960. Hardwood and wood veneer, details on feet and the bottom in aluminum. Pull-out t...

Gianfranco Frattini designed this gorgeous rosewood rolltop desk, model 804, for Bernini in the early 1960s. What appears to be a compact chest of ten...

Gorgeous rosewood coffee table by Gianfranco Frattini for Cassina. Very good condition Any defects on the top (look at the pictures).

A rare Italian contemporary "543 Broadway" chair with a matching ottoman in red and yellow moulded resin seat and back, patinated steel base and feet in plastic with springs by Geata...

Angelo Mangiarotti for Bernini, dining table, model '302', cast bronze, marble, Italy, 1959 At first glance, the table appears deceptively simple: a perfect circle of white marble p...

Rare Angelo Mangiarotti Bernini round table, bronze leg and wooden top, 1957.

Silvio Coppola for Bernini, dining chairs, model '330', cognac brown leather, walnut, Italy, 1969 Wonderful duo of dining chairs in cognac leather and walnut wood by Italian designe...

Frattini graduated in architecture from the Milan Polytechnic in 1953. He opened his professional studio in Milan, after working in the studio of his teacher and mentor Gio Ponti. Hi...

Rare and unusual desk model N°804 designed by Gianfranco Frattini for Bernini. Pulling out the desk top opens the rolltop. This desk cabinet has plenty of storage space, 10 drawers a...

Angelo Mangiarotti was an Italian architect and industrial designer, born in Milan in 1921. He studied architecture at the Politecnico in Milan and graduated in 1948. His designs wer...

Large desk designed by Gianfranco Frattini in 1956 for Bernini, Italy. Walnut wood with two drawers and two spaces in the front side and other four spaces in the back side.

Silvio Coppola for Bernini, set of four dining chairs model 330, leather, walnut, Italy, 1960s. This magnificent set of dining chairs by the renowned Italian designer Silvio Coppola...

Rare and beautiful wood cabinet by Gianfranco Frattini for Bernini, Italy, 1950 - 60s. A true classic of Italian Mid-Century design, capable of speaking with style and sophisticatio...

Scuderia Credenza by Carlo Scarpa for Bernini, 1970s Credenza Model Scuderia by Carlo Scarpa for Bernini with four doors in national walnut with double -cylinder lateral elements. We...

Carlo Scarpa for Bernini, library or wall unit, model '795', walnut, metal, Italy, design 1935, edition made in 1980s Stunning library designed by Carlo Scarpa for Bernini. This wal...

Original Kentucky chairs designed by Carlo Scarpa for Bernini, 1970s. Each featuring a cylindrical walnut wood frame, brown leather seat and back, and burnished brass ferrules on the...

Mid-Century Italian Wooden Coffee Table by Gianfranco Frattini for Bernini, 1960s

Rare italian desk Giotto Stoppino for Bernini Italy, 1969 Wood and chrome metal Bibliography: G. Gramigna, 1950-1980 repertorio: immagini...

Gaetano Pesce “543 Broadway” chair for Bernini, epoxy resin, stainless steel, gum, 1993 The eclecticism and genius of Gaetano Pesce are explicitly visible in his iconic "543 Broadwa...

Hardwood writing desk designed by Gianfranco Frattini and produced by Bernini, Italy. The desk features a removable top part with extra drawers and storage compartments. This desk ca...

Gaetano Pesce's works are eccentric, modern, and camp. These chairs are rare examples of the Broadway series in an incredibly bright green and yellow colourway. On sprung feet, t...

Sideboard by Gianfranco Frattini, Bernini Italy, 1961 Materials & Techniques Notes: rosewood, 2 tambour style roll down fronts, ...

Frattini graduated in architecture from the Milan Polytechnic in 1953. He opened his professional studio in Milan, after working in the studio of his teacher and mentor Gio Ponti. Hi...

Set of of 6 model 620 chairs designed in the mid-60s by Silvio Coppola for the historic luxury furniture brand Bernini. This chair fully represents the style for which Bernini pro...

A striking and substantial dining table designed by Silvio Coppola for Bernini, crafted in richly grained solid walnut. Produced circa 1968, the design is a modern reinterpretation o...

Gaetano Pesce “543 Broadway” chairs for Bernini, epoxy resin, stainless steel, gum, 1993, set of four. The eclecticism and genius of Gaetano Pesce are explicitly visible in his icon...

Elegant roll-top writing desk, model 804, designed by Gianfranco Frattini for Bernini in 1963. Crafted in fine wood, with a leather-covered writing surface. The piece features ten dr...

Modular wooden and leather swivel bookcase, designed by Gianfranco Frattini, model 823. The shelves can be moved as desired. Stamped Bernini. Wear due to time and age. FOR SHIPPING, ...

Carlo Scarpa Black Leather “Kentucky” Dining room Chairs for Bernini, Italy 1977 "Set of six model 783 "Kentucky" dining room chairs, designed by Carlo Scarpa for the Italian manuf...

Carlo Scarpa, 'Scuderia' Walnut Dining Table, manufactured by Bernini in 1977 Of solid walnut structure the grain of the wood is spectacular; with sculpted and canted corner legs a...

A fine walnut desk produced by Bernini C1960s consisting of two drawers to the front with a central open storage space for ease of access . To the top there are two flip top doors re...

Italian White armchair mod. Nastro CL9 by Franca Stagi and Cesare Leonardi for Bernini, 1960s Iconic and modern armchair mod. Nastro CL9 with seat and back made of a single white fi...

Chest of drawers/dressing table realized by Fabio Lenci for Chest of drawers/dressing table realized by Fabio Lenci for Bernini in 1970s. Two adjustable elements hinged together in s...

Pair of small armchairs by Carlo Scarpa for Bernini. Model 771 from the "1934 Series". Walnut frame and red/green reversible felt padding.

Set of 5 mod. 783 “Kentucky” dining chairs, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Structure made from oak and walnut timber. Seats and backrest made from cognac leather. Excellent vintage condition. Carlo Scarpa designed this chair for the “Scuderia” series., the last project he made for Bernini. The architect took inspiration from the “shaker” movement. He designed the chair slightly inclined at the front. This feature allows you to swing backward (until you lean on a wall) and remain in balance. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. A year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity. From 1927, Carlo Scarpa began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building that stands on the Grand Canal banks, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa found himself constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, all worth mentioning. One of his key works, despite its relatively modest diminished proportions, was the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and clearly shows Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in terms of how twentieth-century museums were set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his most significant ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of: – Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) – Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on the renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions, working on the Carlo Felice Theatre in Genoa and another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa started building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures, occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, rising up out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem,” [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea” followed by a cloister which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways teamed with the luminosity of these harmoniously blended spaces shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure.” Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded eight years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana,” “Quatour,” and “Orseolo.” While in 1974, they added couch and armchair “Cornaro” to the collection and the “Toledo” bed...

A remarkable interplay of architectural form and masterful joinery lies at the heart of this ‘Scaligera’ sideboard by Franco Poli for Bernini, crafted in Italy during the 1980s. Des...

Rare writing desk model Sesamo 841 designed by Gianfranco Frattini for Bernini production circa 1982. Circular supporting structure in black lacquered iron top in precious black fold...

This set of four chairs was designed by Silvio Coppola for Bernini, and produced in the 1960 in Italy. The chairs frame are made of beech wood with foam padding and leather upholstery.

Originally designed by Carlo Scarpa in 1935 and produced for the first time by Bernini in 1980, the Bookcase Model 795 perfectly embodies Scarpa’s architectural approach to furniture. The design features two vertical steel uprights with adjustable feet and wall mounts, supporting eight solid walnut shelves that gradually decrease in depth from bottom to top. The height is adjustable from 290 to 300 cm, emphasizing Scarpa’s fascination with precision mechanics and structural balance. Although conceived decades earlier, this bookcase anticipates the modular and architectural systems that would later define postwar Italian design, such as Franco Albini’s LB7...

Silvio Coppola for Bernini, sideboard, walnut, Italy, design 1966 This geometrically convincing sideboard is designed by the Italian designer-architect Silvio Coppola. It is well-st...

Behold the exquisite craftsmanship of the small sideboard or cabinet, a testament to the visionary design of Gianfranco Frattini and the masterful production of Bernini, Italy, in 19...