1,342 results for "canaletto"

This striking coffee table is comprised of a large bottom vase in colored glass (that can function as container or storage space), and a top in solid "...

Round side table with shaped rounded edges and top insert in natural wood, marble or ceramic. Lacquered structure in mat or gloss finish. Top insert availables in Black Walnut/ Noce ...

A sophisticated and essential table featuring an extremely simple and linear design. The Praia table is entirely made of veneered multi-layered Canaletto walnut, its height is 75 cm ...

A refined design to make a stately and iconic accent in a modern style interior, this three-seat sofa features a clean and inviting silhouette. Boasting a precious Canaletto walnut f...

Prized materials and clean aesthetic effortlessly merge in this exquisite writing desk by Fabio Rebosio. The structure is crafted of Canaletto walnut wood and enriched with a matte b...

Parentesi Oak Wood Bookshelf by Morica Design Dimensions: D 40 x W 160 x H 180 cm. Materials: Oak wood, Marmorino Terracotta lacquered wood. Available in Canaletto Walnut, Laguna Oa...

This is a sideboard with a clean line, covering with geometric inlay in precious wood. It is available in light Tay, Dark Tay and Canaletto Walnut. Top with storage unit available in...

Streamlined lines and bold volumes define this exquisite example of Italian cabinetry. Handcrafted of solid Canaletto walnut, it features three drawers with a Blumotion soft-close system, whose front panels juxtapose alternating vertical and horizontal panels...

A capacious and elegant sideboard, this piece features five doors and spectacular allure. An exercise in contrasts, the black-lacquered wooden frame is sleek and essential, enriched ...

This horizontal, 4-door cabinet is in lustrous ivory-coloured lacquered wood with Canaletto walnut trim. It features a striking central, round horn handle, which is backlit for added...

This superb and extremely modern table is a functional piece of design that can extend to a maximum total measure of 178 x 120 x H 75 cm. It features a top and extensions made of Fen...

This luxurious Giorgetti room dividing screen consists of 4 individual panels with circles of cencentrically radiating canaletto walnut venneer whic...

Afra and Tobia Scarpa Lounge Chair Scarpa 925 For Cassina The lounge chair by Afra and Tobia Scarpa that, in 1965, merged style and anatomic design in an i...

The Crab sideboard is a tribute to Italian design of the 1950s, characterized by an exposed supporting structure in Canaletto walnut and a ceramic top. A stylish and highly functiona...

An exceptionally rare opportunity to acquire a pristine, unused example of the highly sought-after Les Nécessaires d'Hermès "Groom" Valet Stand (or Grooming Station), designed by the...

Showcase with elegant linear design. The exterior structure is embellished with dark Tay (VE49B) upholstery and rounded corner detail. The interior features fine details, leather-cov...

Capotavola Chair by Dale Italia Dimensions: D 46 x W 48 x H 95 cm. Materials: Walnut and fabric/leather. Chair in solid Canaletto walnut. Available in different upholstery options ...

2 hinged doors glass cabinet. The beautiful mix between natural Walnut wood and golden galvanic metal details is perfect for a Contemporary and luxurious environment . The glass stru...

Let yourself be carried away by the fresh sound of the waves, abandon yourself to the echo of distant seas, immerse yourself in the blue scent of saltiness...because no house should ...

A mirror in open pore black lacquered ash wood. A wooden grating in a two-dimensional form traditionally made with wooden slats, Carabottino is considered to be an accessory element...

The Bonbon table, designed by Paolo Cappello for Miniforms, offers an essential interpretation of conviviality through pure forms and measured proportions. It is available in three c...

Price listed for starting FABRIC and glossy lacquer The essential nature of a sign. The proportion of solids and voids. The harmony between straight and curved lines. Every feature ...

Thula 562.23 by Frederica Biasi x Tooy Pendant Lamp Compliant with USA electric system Model sold: - hardware sand black - details in satin nickel - shade in walnut canaletto Mat...

Part of The Modernist Collection, inspired by the work of American-born furniture designer, sculptor, and artist Paul Evans, this credenza reflects the true essence of the brutalist ...

Patricia Urquiola Sengu Table For Cassina A design dining room table inspired by the ritual reconstruction of Japanese shrines, a contemporary piece that celebrates light-hearted ch...

Designed as statement pieces, the Ortigia armchairs can play a leading role in settings like the bedroom or easily be matched with your sofa to lend a note of understated elegance to any living space. Sophisticated hand-woven black leather cord...

It features a Portuguese pink marble top and an ebonized Canaletto walnut pedestal. This table is perfect for 6 people. It may show slight traces of use since it's vintage, but it ...

Zanotta William Modular Sofa in Brown Leather with Black Steel Frame by Damian Williamson These modular elements allow many corner or straight compositions. Aluminum alloy feet, e...

Wooden sideboard with Maxima carved flap doors and structure covered in liquid metal tin. Legs and top with liquid metal finish. Equipped with 2 internal and completely removable dra...

Lido collection bookcase. 5 oval and rectangular shelves made of scratch-resistant lacquered MDF 19mm (0.07inch) thick, solid walnut wood legs. Measurements H183xW150xD40cm. Availabl...

Sideboard characterized by the linear design, embellished by the dark Tay (CR77B) upholstered frame and the detail of rounded corners. The sliding door creates multiple compositions ...

Trio side table by Nendo Materials: Top: Noce Canaletto solid wood, Glass or Metal Structure: Black chrome metal, Black/Light grey NCS 2002 Y50R/Coral NCS 2570 Y70R /Dark Green...

Sengu Low Table designed by Patricia Urquiola. Manufactured by Cassina (Italy). DESIGN LOW TABLES A collection of three designer low tables by Patricia Urquiola in combination with ...

More than a game. Masterfully handcrafted with precious canaletto walnut wood Pinetti portable Bowling set is enriched with leather details and satin brass finish. A sophisticated...

Sideboard characterised by the soft curvilinear shape. The doors and sides can be covered in different materials such as leather, nabuk, faux leather or faux nabuk. In the center of ...

Interactive armored armoire in matte finish Canaletto walnut or polished Ebony, with emergency key. White leather interior with 6 Swiss made watch winders and secret compartment. Rut...

A modern box of wonders, its essential shape discreetly fits into any environment. A skilful tangle of weft and warp, alternated with wooden strips and brass elements, hides four do...

Colony armchair with metal base varnished is offered here in black, however, also available in white, silk grey, dusty grey, intense blue or bronze. Th...

When a house becomes a space for thinking, creating and working, as well as for living, desks take on a whole new dimension: LC 60 is an elegant desk of rather small dimensions, desi...

50% deposit payment for R David Craig on the following product: Basjoo limited edition. Marked by a delightful palette of neutral and relaxing colour white, hot gray, canaletto walnu...

Alias Small 396 Ilvolo Extendable Table in Whitened Oak Top and Frame by Riccardo Blumer Extendable table with extension and structure in solid wood maple or ash. Maple veneer or oak veneer; internal leg support in injected polyurethane foam. Finish in transparent lacquered wood or in colored stains (top thickness 5 cm). Born in Bergamo in 1959, he graduated from Milan Polytechnic. He has participated in various awards in France and Switzerland. In 1996 he designed laleggera for Alias, which won the ADI Compasso d’Oro 1998. Since 2003 he has been a teacher at the Architecture Academy in Mendrisio and since 2006 at the University of San Marino and the Internal Superior Institute of Indoor Architecture. Together with Matteo Borghi he designs for Alias the bench ghisa (2008) and the ergonomic stool...

Bodil Kjaer Serving Cart For Cassina A serving cart, designed by Bodil Kjær for the modern living room, where welcoming cheer is encouraged by versatile furniture that elegantly enh...

SEM Pivot collection, writing desk, simple and sculptural. The supporting structure is a rigid system of metal tubes to which are added shelves in beautiful stone elmwood and Canaletto walnut wood combined with various lacquered containers...

Pangea Open Furniture by Morica Design Dimensions: D 28 x W 150 x H 30 cm. Materials: Marsala red lacquered wood. Available in Canaletto Walnut, Laguna Oak, or natural oak wood. Ple...

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

Alias 80N Layout Secrétaire w Lid in Oak Top and Black Lacquered Aluminum Frame by Michele De Lucch Secretaire desk on wheels. Structure in lacquered...

Combined by the hands of Hebanon's master cabinet-makers, the woods are skilfully juxtaposed to create a refined optical inlay. The frontal perspective illusion is reinforced by the ...

Mahjong in matt Canaletto walnut with brass parts in ruthenium finish.

Patricia Urquiola Sengu Coffee Table For Cassina Asian-inspired, this design coffee table by Patricia Urquiola is a domestic architecture enhanced ...

Set of 2, Vienna chair, natural beech wood, nord wool beige by Colé Italia with Emmanuel Gallina Dimensions: H 78, W 48, D 50 cm Materials: natural beech wood chair with straw back...

Coffee table designed by Frank Lloyd Wright for Cassina in 1996. Composed of overlapping and interlocking wooden surfaces, the end result is a solid table with simple yet elegant lin...

The 50-year design born at a time when Italy wanted redemption after the war. The design architects (not yet called designer) and the companies created products to inspire hope and g...

Pigreco set of 8 - limited edition of 200 - numbered #78-85 UPHOLSTERED in Dedar Gimel in color 03: Ardoise CANALETTO WALNUT BASE T135 The essential nature of a sign. The prop...

From a sketch on paper to a product and its name: Nami’s name echoes the sinuous inspiration of its base, crafted in bent wood. In the hands of the craftsman, the material seems almo...

The two Jean Ordinary nesting tables, combining functionality and elegant style, will add a touch of class to your living area or lounge room. With a pra...

ST 12 Sideboard by Laurameroni Dimensions: W 198 x D 53 x H 75 cm Materials: Burnished brass and walnut canaletto dyed. ST 12 LG OB: Low sideboard with 4 hinged doors and metal legs...

Sengu Coffee Table designed by Patricia Urquiola. Manufactured by Cassina (Italy). AN ASIAN INVITATION Asian-inspired, this design coffee table by Patricia Urquiola is a domestic architecture enhanced by the layering of different materials. The system of primary and secondary oval beams that supports the top of this table, ideal for a modern living room, draws upon the ritual reconstruction of Japanese shrines to define an elegant piece of furniture with Far-Eastern fascination. Supported by a solid wood base, the rectangular or round top is available in extra-clear glass, smoked glass or marble. BASE In solid wood: Canaletto walnut, natural oak or oak stained black. TOP Transparent extra-clear or smoked glass, or marble: white Carrara, Grigio Carnico, Verde Alpi, Rosso Levanto, Calacatta Gold, or Nero Marquina, with matt finish. Inspired by Asian influences ‒ a theme that often recurs in the Cassina collections ‒ and especially by the ritual reconstruction of Japanese shrines through the use of different materials, like the other pieces in the Sengu family, the Sengu Coffee Table, designed by Patricia Urquiola, is envisioned as an exquisitely layered and sophisticated home architecture. The base, crafted with a grid of primary and secondary oval solid wood beams, echoes the shapes found in the Sengu Sofa...

This medium table with an ‘X’ shaped metal base, comes in lacquered white/black or copper-coated bases by galvanic treatment. The Èmile dining table here is available in 3 base colors, and is offered in size- Medium. Born in 1980 in Verona, Designer Paolo Cappello graduated in Industrial Design at Politecnico di Milano. Aftera three year collaboration with Ludovica+Roberto Palomba in Milan, in 2007 he setup his own studio in Verona where he collaborates with other professionals in architecture, communication and graphics. Cappello has received many international prizes for his works, most recent ones have been, 2009 - Antoniolupi Design Competition, Progetto Deco Design Competition, and Ossigeno Italiano Prize by Abitare Magazine. Paolo Cappello also collaborates with Rolling Stone magazine writing the design column for the online edition. Paolo's works have been featured by main international magazines and newspapers as NY Times, Herald Tribune, Abitare, Interni, Ottagono, Residence, Icon, Elle Decor, Rolling Stone Additional information: Dimensions: table top height: 3cm, overall table height 74 cm, length of table 200...

Milonga is a bookcase with long legs, set with a delicate cadence between spaces. Either as a partition between rooms or, more traditionally, against a wall, this is an indispensable piece for organizing your home library. As well as being technical, Milonga is bold and distinctive, and plays on the colours of the tubes and the layout of the shelves. Indeed, it is the sequence of the shelves that gives the bookcase its sense of movement, echoing the rhythm of the lines printed in the exercise books of our childhood. Additional Information: Material: Iron, oak Structure Finishing • Lacquered Antracite • Lacquered Bianco • Lacquered Bisanzio • Lacquered Bloody Mary • Lacquered Burro • Lacquered Creta • Lacquered Grigio Seta • Lacquered Mattone • Lacquered Nero • Lacquered Nuvola • Lacquered Pino • Lacquered Pompei • Lacquered Zucca Shelves Finishing • Lacquered 13 colours • Black Ash • Canaletto Walnut • Flamed Oak...

Gio Ponti Leggera Chair For Cassina An icon of chair design and of Cassina’s masterful artisan craftsmanship. A tasteful and versatile piece remin...