524 results for "rationalist"

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

Rare '2045' ceiling light, designed by Studio B.B.P.R. for Arteluce, Italy, 1962. This highly collectible piece remains in its original condition, beautifully preserved, with wear an...

Armchair designed by Le Corbusier, Pierre Jeanneret, Charlotte Perriand in 1928. Manufactured by Cassina in Italy. Timeless, unique, and profoundly authentic, the LC2 armchair has p...

Stylish Art Deco Desk from the 1940s attributed to Osvaldo Borsani, refined design in the back part with a beautiful arched shape, a solution that is repeated in the front part in t...

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...

Rocchettone side table realized in lacquered walnut wood with bright orange decorations (under the table top and on the base), it was designed by Ettore Sottsass and manufactured by ...

Italian Art Deco' Sideboard or Chest of Drawers in walnut wood with wonderful grain, design with a square shape of clear rationalist inspiration typical of the era, the stepped top i...

Designed by Studiopepe and inspired by the rationalist architecture of Lina Bo Bardi — particularly the famous openings with a red background for the SESC Pompeia in São Paulo — Gian...

Rocchettone side table realized in lacquered walnut wood with bright orange decorations (under the table top and on the base), it was designed by Ettore Sottsass and manufactured by ...

Wally aplique lamp designed by Miguel Mila. Manufactured by Tramo (Spain), circa 1962. Metal structure and plastic shade. In good original condition, with minor wear consistent with age and use, preserving a beautiful patina. Miguel Milá represents like no other person Spanish contemporary design. He belongs to the Pioneer's generation of the 1950s and has seen how many of his pieces of furniture and lamps have become real classics. Miguel Milá was born in a Catalan aristocratic family with strong links with the artistic world (his ancestors assigned the Milá House, also known as La Pedrera, to Gaudí) and started working as an interior designer in the architecture studio of his brother Alfonso Milá and Federico Correa. It was the end of the 1950s, a time of crisis when Spain hardly knew what Industrial Design was. There was practically no industry, everything was generally handmade. This framework marked the way Miguel Milá understood design, being sensitive to the pleasure of touching and closer to traditional techniques. Despite the shortage of objects, means and raw materials of the time, Miguel Milá started designing lamps and furniture, that he soon manufactured in his own company, Tramo. Miguel Milá set up this company with two friends, architects F. Ribas Barangé and E. Pérez Ullibari. This is how Miguel Milá got involved with Industrial Design. Out of Tramo, apocopation of Trabajos molestos (annoying works, that is, all the things little brothers have to do), many projects came out. For instance, he developed the previous versions of the famous TMC and TMM lamps (1958 and 1961), timeless Classic designs that are still selling nowadays. Sometime after, he set up his own Industrial and interior design studio. Miguel Milá participated with the designers and architects of that period in the first meetings in Barcelona to discuss on modernity in architecture, out of which came the question of how to promote design and implant its professional practice. These meetings culminated in the foundation of the ADI-FAD, together with Antoni de Moragas, André Ricard, Bohigas, Cirici Pellicer, Manel Cases and Rafael Marquina. From its beginnings, this association sought to foster Spanish design abroad, and to make a connection between young Spanish professionals and international design. "I am in reality a pre-Industrial designer- has Milá stated. I feel more comfortable with the technical procedures that allow correcting failures, experimenting during the process, and controlling it to the maximum. That is where my preference for noble materials comes from, the preference for materials that know how to age." This is the case, among others, of the wooden Cesta lamps...

A set of three pending lamps of different sizes designed by Miguel Milá, circa 1970. Manufactured by Tramo (Spain). In good original condition, with minor wear consistent with age and use. Miguel Milá represents like no other person Spanish contemporary design. He belongs to the Pioneer's generation of the 1950s and has seen how many of his pieces of furniture and lamps have become real classics. Miguel Milá was born in a Catalan aristocratic family with strong links with the artistic world (his ancestors assigned the Milá House, also known as La Pedrera, to Gaudí) and started working as an interior designer in the architecture studio of his brother Alfonso Milá and Federico Correa. It was the end of the 1950s, a time of crisis when Spain hardly knew what Industrial Design was. There was practically no industry, everything was generally handmade. This framework marked the way Miguel Milá understood design, being sensitive to the pleasure of touching and closer to traditional techniques. Despite the shortage of objects, means and raw materials of the time, Miguel Milá started designing lamps and furniture, that he soon manufactured in his own company, Tramo. Miguel Milá set up this company with two friends, architects F. Ribas Barangé and E. Pérez Ullibari. This is how Miguel Milá got involved with Industrial Design. Out of Tramo, apocopation of Trabajos molestos (annoying works, that is, all the things little brothers have to do), many projects came out. For instance, he developed the previous versions of the famous TMC and TMM lamps (1958 and 1961), timeless Classic designs that are still selling nowadays. Sometime after, he set up his own Industrial and interior design studio. Miguel Milá participated with the designers and architects of that period in the first meetings in Barcelona to discuss on modernity in architecture, out of which came the question of how to promote design and implant its professional practice. These meetings culminated in the foundation of the ADI-FAD, together with Antoni de Moragas, André Ricard, Bohigas, Cirici Pellicer, Manel Cases and Rafael Marquina. From its beginnings, this association sought to foster Spanish design abroad, and to make a connection between young Spanish professionals and international design. "I am in reality a pre-Industrial designer- has Milá stated-. I feel more comfortable with the technical procedures that allow correcting failures, experimenting during the process, and controlling it to the maximum. That is where my preference for noble materials comes from, the preference for materials that know how to age." This is the case, among others, of the wooden Cesta lamps...

Stylish and elegant copper and brass table lamp made in Italy in the late 1960s early 1970s. The base of the lamp with in the center the sphere with it's irregular copper and brass surface, is in very good condition. We had a new custom shade made which measures D. 14.960 x H. 14.960 inches. The diameter of the base is 3.937 inches. This beauty will be shipped insured in a custom made wooden crate. Cost of transport to the US is crate included. Italy has produced some of the greatest furniture designers in the world, such as Achille Castiglioni, Gio Ponti, and Ettore Sottsass. Italian interior design in the 1900s was particularly well-known and grew to the heights of class and sophistication. At first, in the early 1900s, Italian furniture designers struggled to create an equal balance between classical elegance and modern creativity, and initially Italian interior design in the 1910s and 1920s was very similar to that of French Art Deco styles, using exotic materials and creating sumptuous furniture. However, Italian Art Deco reached its pinnacle under Gio Ponti, who made his designs sophisticated, elegant, stylish and refined, but also modern, exotic and creative. In 1926, a new style of furnishing emerged in Italy, known as "Razionalismo", or "Rationalism". The most successful and famous of the Rationalists were the Gruppo 7...

Franco Albini, MB15 pair of sideboards for Poggi, Italy, 1957 The two MB15 sideboards by Franco Albini shown in the images feature a refined and understated design, typical of the I...

A rare Italian Art Deco chandelier in sculptural copper and brass, echoing the refined modernist spirit of the Gio Ponti era. The design is distinctly architectural, featuring a tot...

A rare and important dining table designed by Osvaldo Borsani for Arredamenti Borsani Varedo in the 1950s, this piece is an authentic testament to the outstanding level achieved by I...

Gerrit Thomas Rietveld Zig Zag Chair For Cassina Designed by Gerrit Thomas Rietveld in 1934 and quickly deemed a design icon, th...

Gerrit Thomas Rietveld Utrecht Xl Outdoor Sofa For Cassina A furniture icon, designed by a 20th century master. The Utrecht armchair b...

Attributed to Rene Gabriel, lounge chair, stained beech, linen fabric "Arsene" by Pierre Frey, France, circa 1945 This armchair is attributed to the French artist René Gabriel, kno...

We kindly ask you to read the description carefully, as it provides technical and historical details to ensure the authenticity of our items. This elegant magazine rack, with geometr...

A sophisticated and sharply composed architectural slant front desk attributed to celebrated Milanese designer Paolo Buffa. Constructed from richly grained oak, the piece features a ...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

Rare Modular Italian Bookcase Set by BBPR - 1940s Design with Brass and Glass Details An exceptional and elegant set of three modular bookcases designed by the renowned Italian archi...

Gerrit Thomas Rietveld "Utrecht" armchairs for Cassina, wool and steel, Netherlands, 1935. The designer came up with the idea of the “Utrecht” armchair in 1935 while working for t...

BIOT is a unique acrylic on canvas painting by contemporary artist Ramon Enrich, dimensions are 90 × 90 cm (35.4 × 35.4 in). The artwork is signed, sold unframed and comes with a c...

A balance of strength and volatility. At the age of forty-four, Antoni de Moragas Gallissà designed the Moragas lamp for his own office. Rationalist archi...

Gerrit Thomas Rietveld Set of Two Zig Zag Chair For Cassina Designed by Gerrit Thomas Rietveld in 1934 and quickly deemed a design icon, the Zig Zag chair is one of the first exam...

Gerrit Thomas Rietveld Set of Two Zig Zag Chair For Cassina Designed by Gerrit Thomas Rietveld in 1934 and quickly deemed a design icon, the Zig Zag chair is one of the first exam...

Here we see a decision to project the universal ideals of modernity onto Indian reality. However, this piece was inspired by North Indian culture as well the cosmic and spiritual In...

We kindly invite you to read the full description, as we provide detailed technical and historical information to ensure the authenticity of our items. This refined and elegant set c...

Ernesto Valabrega for Vittorio Valabrega, set of six dining chairs, oak, beech, fabric, Italy, 1930s Designed by Ernesto Valabrega for Vittorio Valabrega in the 1930s, this set of d...

They can be sold separately 1930s amazing dining room in burl walnut flame applied with particular edge to 45 degrees, the furniture industry "Guido Pennati", design attributed to Os...

Franco Albini & Franca Helg. Dining table model no. TL22. Manufactured by Poggi, Italy, 1958. Mahogany. Measurements: 180.3 cm x 104.1 cm x 73 H cm. 70.98 in x 40.98 in x 28.74 in. Literature: Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 123. Franco Albini, was born in 1905 and died in 1977. He spent his childhood and part of his youth in Robbiate in Brianza, where he was born. Albini, as an adolescent moved with his family to Milan. Here he enrolled in the Faculty of Architecture of the Polytechnic and graduated in 1929. He started his professional activity in the studio of Gio Ponti and Emilio Lancia, with whom he collaborated for three years. At the 1929 International Exhibition in Barcelona (where Gio Ponti curated the Italian pavilion and Mies van der Rohe realized that of Germany) and in Paris where, as Franca Helg recounted, he had the opportunity to visit the studio by Le Corbusier. In those three years, the works he carried out are admittedly of the twentieth century imprint. It is the meeting with Edoardo Persico that marked a clear turning point towards rationalism and the approach to the group of editors of "Casabella". The partly ironic and partly very harsh comments of the Neapolitan critic to a series of drawings, made by Albini for the design of some office furniture, caused him a great disturbance. “I spent days of real anguish - Albini recalls - I had to answer all the questions. I also had a fever, a large and long fever. " The meted provoked Albini to openen a professional studio in via Panizza with Renato Camus and Giancarlo Palanti. The group of architects began to deal with public housing by participating in the competition for the Baracca district in San Siro in 1932 and then building the IFACP neighborhoods: Fabio Filzi (1936/38), Gabriele D'Annunzio and Ettore Ponti (1939). During this period, Albini also worked on his first villa (Pestarini), which Giuseppe Pagano, architect and critic of the time, presented as follows: “This coherence, which the superficial rhetoric of fashionable jugglers calls intransigence, and which is instead the basis of understood between the fantasy of art and the reality of the craft, in Franco Albini, it is so rooted that it transforms theory into a moral attitude ". But it is above all in the context of the exhibitions that the Milanese master experienced his compromise between that "rigor and poetic fantasy" of which Pagano speaks, coining the elements that became a recurring theme in his . The opening in 1933 of the new Triennale headquarters in Milan, in the Palazzo dell'Arte, was an important opportunity to express the strong innovative character of rationalist thinking, a gym in which to freely experiment with new materials and new solutions, but above all a "method". "Cultivated as a communication laboratory, the art of setting up was for the rationalists of the first generation what the perspective had been for the architects of humanism: the field open to a hypothesis of space that needed profound reflections before landing the concreteness of the construction site ". Together with Giancarlo Palanti, Albini on the occasion of the V Triennale di Milano set up the steel structure house (with R. Camus, G. Mazzoleni, G. Minoletti and with the coordination of G. Pagano), for which he also designed the 'furniture. At the following Triennale of 1936, Persico dided, together with a group of young designers gathered by Pagano in the previous edition of 1933, Franco Albini took care of the preparations of the home exhibition. The setting up of Stanza per un uomo, at that same Triennale, allows us to understand the acute and ironic approach of Albini, as a man and as a designer: "Celebrating the beauty of mechanics was the imperative to which, for example, the surprising displays by Franco Albini who managed, in the subtle way of a refined and rarefied style, to sublimate their practical content in the metaphysics of daring still lifes: flying objects which marked in the void refined frames and metal intricacies the nodes of a fantastic cartography where industry finally became art free from purpose ". That same year Albini and Romano designed the exhibition of the Ancient Italian Goldsmithery: vertical uprights, simple linear rods, designed the space. A theme, of the "flagpole", seemed to be the center of the evolution of production and the creative process. The concept is reworked over time, with the technique of decomposition and recomposition typical of Albinian design: in the preparation of the Scipione Exhibition and contemporary drawings (1941) the tapered flagpoles, on which the paintings and display cases were hung, are supported by a grid of steel cables; in the Vanzetti stand (1942) they take the V-shape; in the Olivetti shop in Paris (1956) the polished mahogany uprights support the shelves for the display of typewriters and calculators. The flagpole is found, however, also in other areas. In the apartments he designed, it is used as a pivot on which the paintings can be suspended and rotated to allow different points of view, but at the same time as an element capable of dividing the spaces. The Veliero bookcase...

An important symbol of the international success of Hollywood in the 1930s, and a superb example of the Stile Littorio or Italian Rationalist design that prevailed during the rule of...

Wonderful and very rare sideboard designed The sideboard is an irresistible rationalist design 1970s Published a very similar example. The sideboard is an irresistible rationalist design, with a base that represents its strong point. The base is made of black painted metal, very elegant and suited to the industrial style that this sideboard follows. The base covers the entire depth of the piece and is made within a rectangular frame that is quite hard and rigid in shape. Within this frame we see three large cube-shaped blocks within which the metal planks have been placed, some diagonally, some straight, some higher. They create a simply enchanting, eye-catching effect. This geometric play is the focal point of this wonderful sideboard. This structure is supported by four rigid, geometric square feet. Above we see the central body of the sideboard made entirely of a dark precious solid wood; there are 3 drawers running the full length of the sideboard, each with two spherical brass inlays allowing them to open. Above this is a smaller top, highlighted by a structure to raise it up, as long as the entire sideboard, made of a beautiful ground crystal that gives it an out-of-the-ordinary beauty. The sideboard is suitable for industrial chic, modern and vintage areas. It is a product that can be very adaptable to the type of environment already present. A similar example of this sideboard is published among the vintage design books.

Nouveaux Plaisirs d'Architectures (New Architectural Pleasures), French book published by The National Center of Art and Culture Georges Pompidou in Paris, 1985. Les pluralismes de l...

This stunning set of armchairs and footstool, designed by Giuseppe Pagano in the 1940s, perfectly embodies the aesthetics of Italian Rationalism. Each fluid, natural curve of the ben...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Rational and linear desk...

The Pagnottina chair is light and versatile, available in many different coverings. Like the Pagnotta armchair from the same series, La Pagnottina is made up of fourteen carbon-fibre...

The Pagnottina chair is light and versatile, available in many different coverings. Like the Pagnotta armchair from the same series, La Pagnottina is made up of fourteen carbon-fibre...

MB15 large sideboard with four-door panels in wood, designed by Franco Albini in 1956 and produced by Poggi, Pavia. The MB15 sideboard showcases a clean and solid design characteriz...

Pair of Giovanni Michelucci Patinated Oak and Leather Armchairs, Italy, 1930s This refined pair of armchairs, attributed to Giovanni Michelucci, captures the architectural clarity ...

Set of eight dining chairs, ash, Italy, 1970s This set of dining chairs, crafted in solid ash during 1970s Italy, is a clear expression of a particular moment in post-war European d...

Ambrogio Tresoldi and Alberto Salvati, cabinet / wardrobe, lacquered wood, Italy, 1970s Ambrogio Tresoldi and Alberto Salvati began their careers at the Politecnico di Milano under ...

Mid-Century Stilnovo Chandelier in Brass and 12 opaline globes, Italy 1950s This midcentury Italian brass chandelier by Stilnovo features 12 handblown opaline glass globes of exce...

The solemnity and essentiality of Palace by George J. Sowden make this chair a true icon of the silent transformation of Memphis. Palace reinterprets the rationalist forms of design ...

Here we see a decision to project the universal ideals of modernity onto Indian reality. However, this piece was inspired by North Indian culture, as well the cosmic and spiritual I...

Ignazio Gardella for Azucena, 'Doppio Vetro' wall lights, model 'LP7', brass, glass, Italy, 1955 The Doppio Vetro wall light, designed by Ignazio Gardella, stands as a defining pie...

Osvaldo Borsani Art Deco dining table for Arredamenti Borsani Varedo, walnut, Italy, 1935 A study in sculptural elegance and architectural precision. Designed by Osvaldo Borsani in...

Toilet with mirror in rationalist style in walnut, walnut root and maple. Splendid rationalist-style handles in chrome metal and pastel orange bakelite. On the top there is a compart...

Set of four dining chairs with a frame in black lacquered metal and seat in curved plywood, attributed to Carlo Ratti and produced by Società Compensati Curvati in the 1950s. In Italy, at the beginning of the XX century, industries of curved solid wood arose under license of Michael Thonet, and through the International Exhibitions the processing of curved wood became more and more widespread. The Expo of the first decade was also attended by the wood manufacturers of Monza, while in 1905 Otto Helzer, in Switzerland, patented wooden structures in curved laminated, whose strength was equivalent to those in steel. The Ratti brothers of Monza took their cue from the solid wood laminate to create furniture that, instead of wooden elements, used sheets of wood. The brothers Ratti, Carlo and Mario, also began to follow the young artistic avant-gardes (cubism, futurism and abstractionism). The mastery of wooden sculpture influenced Carlo in the design and realization of furniture of fine neo-plastic artistic workmanship and decò, receiving honors from the Prince of Piedmont Umberto di Savoia. In 1919, in Milan, the first Lombard Exhibition of Decorative Arts was set up (later to become the Triennale) and the Ratti brothers exhibited their furniture in solid wood but also in curved panel with a new system of curvature, the one in Telo. The canvas system was developed by the Ratti brothers with the help of a friend, Cesare Cantù. They developed an elastomer bag in which the mould was inserted with the panel to be bent and, closing it with clamps, the air inside was removed, thus making the panel adhere to the mould. Carlo and Mario found in the Telo system a means by which they could make objects and furniture in the three spatial directions with large surface curvatures, without limits of thickness and minimum radii of curvature. In 1921 in Stuttgart the first Salone del Mobile was inaugurated and the Fratelli Ratti of Monza made itself known internationally by presenting solid wood furniture and also furniture in load-bearing plywood, flanked by furniture with framed and interchangeable covers. The Expo became meeting places to verify and present the novelties in the furniture and industrialization sector and, with the development of Industrial Design, the first architects joined in the design of the furniture industries. The Ratti Brothers, in the various international and national exhibitions, also presented incredible objects in their realization with the system in Telo. After 1930 Carlo and Mario produced many containers for radio and folding chairs for cinema but in 1939 they divided and in Monza Mario remained who, with his sons Antonio and Angela, formed the Società Compensati Curvi...

Le Corbusier wide lounge chairs - beautiful condition Le Corbusier (born Charles-Edouard Jeanneret) was one of the most influential architects and urban planners of the twentieth c...

The EVO table by Emmemobili, designed by Ferruccio Laviani, is an iconic piece that masterfully blends tradition with modernity. With its powerful presence, it symbolizes the evoluti...

Menilio Taro "811" minimalist modular sofa for Cinova, black leather and steel, Italy, 1970, set of five Designed in 1970 by Menilio Taro for Cinova, the “811” modular sofa exemplif...

The piece showcases a pronounced Rationalist taste and style, with a design attributed to Carlo Enrico Rava, crafted by the furniture makers "Meroni & Fossati." Rosewood veneered bod...

An Important and Rare Pair of French / Italian Midcentury Modern 'Rationalist' Benches / Stools or End / Side Tables in Elm Wood in the style of Jean Michel Frank and attributed to Giuseppe Pagano Pogatschnig. The pieces are multi-functional; and are pure and sober with unfettered lines and form. They are composed in a pure rectangular form of 2 support sides and a top united by a stretcher, and covered in a sensuous burled Elm wood. They are a confident expression of simple elegance and beauty. These pieces are significant in the emerging modern movement in France and Italy in 1930's. Rationalism was Italy's Midcentury Modernism...

TL30 table with a round top in wood and a base in black lacquered metal, designed by Franco Albini and produced by Poggi in the 1950s. After spending his childhood and part of his youth in Robbiate in Brianza, where he was born in 1905, Franco Albini moved with his family to Milan. Here he enrolled in the Faculty of Architecture of the Polytechnic and graduated in 1929. He starts his professional activity in the studio of Gio Ponti and Emilio Lancia, with whom he collaborates for three years. He probably had his first international contacts here In those three years, the works carried out are admittedly of a twentieth-century imprint. It was the meeting with Edoardo Persico that marked a clear turning point towards rationalism and the rapprochement with the group of editors of “Casabella”. The new phase that that meeting provoked starts with the opening of the first professional studio in via Panizza with Renato Camus and Giancarlo Palanti. The group of architects began to deal with public housing by participating in the competition for the Baracca neighborhood in San Siro in 1932 and then creating the Ifacp neighborhoods: Fabio Filzi (1936/38), Gabriele D’Annunzio and Ettore Ponti (1939). Also in those years Albini worked on his first villa Pestarini. But it is above all in the context of the exhibitions that the Milanese master experiments his compromise between that “rigor and poetic fantasy” coining the elements that will be a recurring theme in all the declinations of his work – architecture, interiors, design pieces . The opening in 1933 of the new headquarters of the Triennale in Milan, in the Palazzo dell’Arte, becomes an important opportunity to express the strong innovative character of rationalist thought, a gym in which to freely experiment with new materials and new solutions, but above all a “method”. Together with Giancarlo Palanti, Albini on the occasion of the V Triennale di Milano sets up the steel structure house, for which he also designs the ‘furniture. At the subsequent Triennale of 1936, marked by the untimely death of Persico, together with a group of young designers gathered by Pagano in the previous edition of 1933, Franco Albini takes care of the preparation of the exhibition of the house, in which the furniture of three types of accommodation. The staging of Stanza per un uomo, at that same Triennale, allows us to understand the acute and ironic approach that is part of Albini, as a man and as a designer: the theme addressed is that of the existenzminimum and the reference of the project is to the fascist myth of the athletic and sporty man, but it is also a way to reflect on low-cost housing, the reduction of surfaces to a minimum and respect for the way of living. In that same year Albini and Romano designed the Ancient Italian Goldsmith’s Exhibition: vertical uprights, simple linear rods, design the space. A theme, that of the “flagpole”, which seems to be the center of the evolution of his production and creative process. The concept is reworked over time, with the technique of decomposition and recomposition typical of Albinian planning: in the setting up of the Scipio Exhibition and of contemporary drawings (1941) the tapered flagpoles, on which the paintings and display cases are hung, are supported by a grid of steel cables; in the Vanzetti stand (1942) they take on the V shape; in the Olivetti store in Paris (1956) the uprights in polished mahogany support the shelves for displaying typewriters and calculators. The reflection on this theme arises from the desire to interpret the architectural space, to read it through the use of a grid, to introduce the third dimension, the vertical one, while maintaining a sense of lightness and transparency. The flagpole is found, however, also in areas other than the exhibition ones. In the apartments he designed, it is used as a pivot on which the paintings can be suspended and rotated to allow different points of view, but at the same time as an element capable of dividing spaces. The Veliero bookcase...

A rectangular low coffee table entirely made in wood, designed by Ettore Sottsass for Poltronova, Agliana 1960s. The son of an architect, Ettore Sottsass Jr. (1917-2007) was born i...

A rare and iconic “Iride” floor lamp designed by Ico Parisi for Lamperti Robbiate in the 1970s. One of Parisi’s most striking lighting creations, the...

Stylish, classy and elegant Italian Mid-Century Modern brass and glass bar trolley. The trolley will be shipped overseas in a custom made wooden crate. Cost of transport to the US is crate included. Italy is a world trendsetter, and has produced some of the greatest furniture designers in the world, such as Achille Castiglioni, Gio Ponti, and Ettore Sottsass. Italian interior design in the 1900s was particularly well-known and grew to the heights of class and sophistication. At first, in the early 1900s, Italian furniture designers struggled to create an equal balance between classical elegance and modern creativity, and at first, Italian interior design in the 1910s and 1920s was very similar to that of French Art Deco styles, using exotic materials and creating sumptuous furniture. However, Italian Art Deco reached its pinnacle under Gio Ponti, who made his designs sophisticated, elegant, stylish and refined, but also modern, exotic and creative. In 1926, a new style of furnishing emerged in Italy, known as "Razionalismo", or "Rationalism". The most successful and famous of the Rationalists were the Gruppo 7, led by Luigi Figini, Gino Pollini and Giuseppe Terragni. There styles used tubular steel and was known as being more plain and simple, and almost Fascist in style after c. 1934. After World War II, however, was the period in which Italy had a true avant-garde in interior design. With the fall of Fascism, birth of Republic and the 1946 RIMA exhibition, Italian talents in interior decorating were made evident, and with the Italian economic miracle, Italy saw a growth in Industrial Production and also mass-made furniture. Yet, the 1960s and 1970s saw Italian interior design reach its pinnacle of stylishness, and by that point, with Pop and post-modern interiors, the phrases "Bel Design" and "Linea Italiana" entered the vocabulary of furniture design. Ever since the late 1970s and early 1980s, some equipment began to be logoed by notable Italian fashion houses, such as Prada, Versace, Armani, Gucci and Moschino. Examples of Classic pieces of Italian furniture include Zanussi's rigorous, creative and streamlined washing machines and fridges, the "New Tone...