Salotto Viennese Seating

Set di due Poltrone disegnate da Tito Agnoli per Bonacina agli inizi degli anni 70. Struttura in Bambù e Tappezzeria in Cuoio naturale color cognac. Le poltrone si presentano in condizioni molto buone con patina vintage...

Bedroom armchair Paolo Buffa Italy 1950s

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Mid-Century armchair in the style of Paolo Buffa, Italy This is a very elegant pair of 1950s Italian armchair, polished solid wood structure and fabric cushions, an iconic and very ...

Set di quattro sedie con struttura e seduta in legno curvato, disegnate da Afra e Tobia Scarpa per Molteni, anni '70. CONDIZIONE: In buone condizioni, con segni di usura dovuti al t...

A black-lacquered iron and fabric armchair or side chair designed by Milo Baughman and produced by Pacific Iron Products Co., USA, c. 1950s. Oxidation present to metal Wear consist...

Elegante coppia di sedie in stile Pier Luigi Colli, iconiche del design Mid-Century italiano degli anni ’50. Le sedie presentano strutture in ottone dalla linea sinuosa e raffinata,...

The inimitable Italian style, in personalized velvet, maple feet, high back, unique design.

Italian mid-century White fabric and wooden armchair by Paolo Buffa, 1950s Armchair with wooden structure. The seat is made up of a padded cushion in white fabric, supported by a me...

Dark gray velvet armchair, wooden feet.

Italian Modern furniture is defined by unique design, perfect execution, and exclusivity. This pair of armchairs is attributed to Italian design icon, Paolo Buffa. Coinciding with contemporary debates about the role of design and its responsibility to the larger population, Buffa reworked the presiding neoclassical idiom. The architect incorporated simplified forms into his designs in order to streamline production techniques, whilst always retaining a high regard for materials and harmonious portions. This pair of armchairs is said to have been designed by Buffa during the 1950s and elegantly balances comfort and functionality with high-quality craftsmanship and materials: the refined, articulated lines of the armchairs’ frames counter the volume of its cushions and uniquely patterned upholstery. By the mid-1930s, Buffa had established his own studio, where the Milanese architect designed expertly crafted furniture featuring intricate details and combined luxurious materials for an elite clientele. Buffa developed close relationships with cabinetmaking workshops in Brianza, renowned for their traditional furniture manufacturing, and during the following decades collaborated with some of the period’s most skilled artisans. These relationships enabled Buffa to introduce a modern vocabulary into his work whilst adhering to Milan’s heritage of artisan furniture production, in order to realize inventive furniture designs that revealed a skilful union of design and execution. These chairs embody this patently, with their most intricate feature being the upholstery covering the elegant, stylish shape of the solid wood frames. The elaborate pattern invites the eyes to spend time observing and exploring it, therefore the overall impression is interesting and stylish, while it also makes these chairs a one-of-a-kind pair. The exposed architectural, tapered legs supporting the comfortable seats and curved backs complement the design of this model greatly. The slim look serves as a counterweight to the voluptuous bodies, and the colour of the wood complements the pattern as well. The overall design is focused on elegant and measured proportions, balanced compositions, and refined décor elements including the exclusive materials. Besides the upholstery, the versatile shapes, from the curving, rounded edges on the top to the characteristic armrests and tapered legs, make these chairs stand out. Buffa’s designs were featured in important publications, such as Roberto Aloi’s L’arredamento moderno series, through which a coherent evolution can be traced in Buffa’s work as he interpreted the formal elegance of Italian design with a subtle yet recognizably modern rigour evidenced by this pair. Paolo Buffa was especially passionate about furniture and product design, an area where he remained faithful to a figurative repertoire of substantial classicism, while not disdaining impulses of authentic modernity. He was extremely active in the Milanese design scene that was just as vibrant and unique as these armchairs. In an atmosphere committed to the reinterpretation of the Lombard classicism and Milanese architecture, exceptional pieces were created, as this pair shows. Condition: In good vintage condition. Wear consistent with age and use. Small scratches and marks on the wood. The chairs have been reupholstered recently in a premium patterned fabric. Each of our items can be reupholstered by our in-house atelier in a fabric of choice. Please reach out for more information. Dimensions: 29.52 in W x 34.44 in D x 37 in H; Seat height 15.15 in; Arm height 22.44 in 75 cm W x 87.5 cm D x 94 cm H; Seat height 38.5 cm; Arm height 57 cm Literature: 'Alcuni Mobili di Paolo Buffa', Domus, no. 178, October 1942, p. 431 for a similar example Roberto Aloi, L’Arredamento Moderno, quarta serie, Milan, 1949, fig. 366 for a similar example Roberto Rizzi, I mobile di Paolo Buffa, exh. cat., Mostra Internazionale dell'Arredamento, Cantù, 2002, pp. 30, 34-35 for a drawing and images of a similar example About the (attributed) designer: Paolo Buffa (born 1903, Milan – died 1970, Milan) was an Italian furniture designer who defined his own unique design aesthetic to become one of the most sought-after Italian designers of his day. Renowned for pairing elements from both the opulent Neoclassical and the streamlined Art Deco styles around a more modern sensitivity, Buffa excelled in creating high quality pieces that spoke to the well-to-do clientele of the time. Born in Milan in 1903, Buffa trained at the Politecnico di Milano. Following his graduation in 1927, he worked briefly for Gio Ponti, and in 1928, he partnered with architect Antonio Cassi to establish their own design studio in Milan. By 1936, Paolo Buffa opened his own independent studio where he became particularly successful, in part because he had already tapped into his unique combination of stylistic elements. His incorporation of more traditionally Neoclassical motifs or materials – for example, rich rosewoods or supple, velveteen fabrics – with the relatively avant-garde forms and themes of a lighter Art...