Fontana Art Mirror Palermo

The bread and butter of the glassmaking company that Luigi Fontana founded in 1881 in Milan, Italy, was plate-glass panels for the construction industry. In 1930, Fontana met Gio Ponti — then the artistic director of the Richard Ginori ceramics workshop and the editor of the influential magazine Domus — at a biannual design exhibition that became the precursor to today’s Milan Design Triennale, and the two hatched an idea for a furniture and housewares firm. Fontana Arte was incorporated in 1932 with Ponti as its chief of design.

Best known for its elegant and innovative vintage lighting fixtures, Fontana Arte pioneered one of the key features of 20th-century and contemporary Italian design: the union of artistry and industry wrought by partnerships between creative talents — chiefly architects — and entrepreneurial businesses. Fontana Arte is further distinguished by having had as artistic director, in succession, four of Italy’s most inventive modernist designers: Gio Ponti, Pietro Chiesa, French transplant Max Ingrand and Gae Aulenti.

Ponti contributed several lamps that remain among the company’s signature works, including the orb-atop-cone Bilia table lamp and the 0024 pendant — a stratified hanging sphere.

In 1933, Fontana Arte partnered with the influential Milan studio glassmaker and retailer Pietro Chiesa, who took over as artistic director. Chiesa’s designs for lighting — as well as for tables and items including vases and ashtrays — express an appreciation for fluidity and simplicity of line, as seen in works such as his flute-shaped Luminator floor lamp and the 1932 Fontana table — an arched sheet of glass that is held in the permanent collection of the Museum of Modern Art.

Six years after Chiesa’s 1948 death, the École des Beaux Arts–trained Max Ingrand took over as head of design at Fontana Arte. Ingrand brought a similarly expressive formal sensibility to wares such as table lamps and mirrors, but he also had a masterful eye for the manipulation of glass surfaces — whether they be cut, frosted, acid-etched or sand-blasted. His classic design is the Fontana table lamp of 1954, which has a truncated cone shade and curved body, both of which are made of pure, chic white-frosted glass.

Following Ingrand, the often-audacious Italian architect Gae Aulenti served as the company’s artistic director from 1979 to 1996, and while she generally insisted that furnishings take second place aesthetically to architecture, she made an exception for Fontana Arte pieces such as the Tavolo con Ruote series of glass coffee and dining tables on wheels, bold lighting pieces such as the Parola series and the Giova, a combination flower vase and table lamp. As a key incubator of modern design under Aulenti’s tenure, Fontana Arte remained true to its long-held commitment — creating objects that have never been less than daring.

Find vintage Luigi Fontana mirrors, lighting and more on 1stDibs.

The road from early innovations in reflective glass to the alluring antique and vintage mirrors in trendy modern interiors has been a long one but we’re reminded of the journey everywhere we look.

In many respects, wall mirrors, floor mirrors and full-length mirrors are to interior design what jeans are to dressing. Exceedingly versatile. Universally flattering. Unobtrusively elegant. And while all mirrors are not created equal, even in their most elaborate incarnation, they're still the heavy lifters of interior design, visually enlarging and illuminating any space. 

We’ve come a great distance from the polished stone that served as mirrors in Central America thousands of years ago or the copper mirrors of Mesopotamia before that. Today’s coveted glass Venetian mirrors, which should be cleaned with a solution of white vinegar and water, were likely produced in Italy beginning in the 1500s, while antique mirrors originating during the 19th century can add the rustic farmhouse feel to your mudroom that you didn’t know you needed.

By the early 20th century, experiments with various alloys allowed for mirrors to be made inexpensively. The geometric shapes and beveled edges that characterize mirrors crafted in the Art Deco style of the 1920s can bring pizzazz to your entryway, while an ornate LaBarge mirror made in the Hollywood Regency style makes a statement in any bedroom. Friedman Brothers is a particularly popular manufacturer known for decorative round and rectangular framed mirrors designed in the Rococo, Louis XVI and other styles, including dramatic wall mirrors framed in gold faux bamboo that bear the hallmarks of Asian design. 

Perhaps unsurprisingly, mid-century modernism continues to influence the design of contemporary mirrors. Today’s simple yet chic mantel mirror frames, for example, often neutral in color, owe to the understated mirror designs introduced in the postwar era.

Sculptor and furniture maker Paul Evans had been making collage-style cabinets since at least the late 1950s when he designed his Patchwork mirror — part of a series that yielded expressive works of combined brass, copper and pewter — for Directional Furniture during the mid-1960s. Several books celebrating Evans’s work were published beginning in the early 2000s, as his unconventional furniture has been enjoying a moment not unlike the resurgence that the Ultrafragola mirror is seeing. Designed by the Memphis Group’s Ettore Sottsass in 1970, the Ultrafragola mirror, in all its sensuous acrylic splendor, has become somewhat of a star thanks to much-lauded appearances in shelter magazines and on social media.

On 1stDibs, we have a broad selection of vintage and antique mirrors and tips on how to style your contemporary mirror too.