{"id":430662,"date":"2025-09-19T13:55:00","date_gmt":"2025-09-19T17:55:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=430662"},"modified":"2025-09-19T11:33:23","modified_gmt":"2025-09-19T15:33:23","slug":"paolo-buffa-cabinet-morentz","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/paolo-buffa-cabinet-morentz\/","title":{"rendered":"A Basket-Weave Pattern Adds Country Charm to Paolo Buffa\u2019s Elegant Cabinet"},"content":{"rendered":"
\n
\"A<\/a>
Paolo Buffa large chestnut highboard or wardrobe, 1940s<\/a><\/figcaption><\/figure><\/div>\n\n\n

The furniture of the Milanese architect and designer Paolo Buffa<\/a> (1903\u201370) defies categorization. Buffa\u2019s meticulously crafted work spans the central decades of the 20th century, when neoclassical<\/a> tastes were giving way to streamlined Art Deco<\/a> and then to Jet Age<\/a> modernism. He gracefully embraced them all, sometimes in a single piece, bringing his quirky syntheses to the highest levels of refinement.<\/p>\n\n\n\n

Occasionally, when creating furnishings for the wealthy owners of country villas in Lombardy, Buffa indulged in sophisticated rusticity<\/a>, as in the 1940s chestnut wardrobe<\/a> with basket-weave doors currently being offered on 1stDibs by Netherlands-based gallery MORENTZ<\/a>. \u201cThese \u2018rustic\u2019 designs can be found at certain moments of Buffa\u2019s career, but they constitute a fraction of his overall body of work,\u201d says Naomi Verbeek, head of collection at MORENTZ. <\/p>\n\n\n

\n
\"A
Italian furniture designer Paolo Buffa<\/a> used wooden slats to create a simple but enormously charming pattern on the doors of the 1940s cabinet<\/a>.<\/figcaption><\/figure><\/div>\n\n\n

The son of a famed stained-glass<\/a> artist, Buffa trained at the Politecnico di Milano and did a stint in the studio of the monumentally influential architect Gio Ponti<\/a> before striking out on his own. His close relationship with the cabinetmakers and artisans who crafted his designs in small northern Italian workshops was key. During production, he would look in on them frequently, offering guidance.<\/p>\n\n\n\n

His work was exhibited in the Triennale di Milano and the Salon des Artistes D\u00e9corateurs in Paris but never mass-manufactured or widely distributed abroad. \u201cThis insured extraordinary quality but also limited Buffa\u2019s visibility in broader commercial markets,\u201d Verbeek says. \u201cEach piece, or small series, was essentially bespoke,\u201d for a specific client.<\/p>\n\n\n\n

Buffa designed not only furnishings<\/a> but oftentimes the structures that housed them as well, including public buildings and private villas. He outfitted a yacht for King Farouk of Egypt and was hired to decorate the palace of Albania\u2019s King Zog, but the queen nixed his plans. Buffa\u2019s clientele encouraged his flights of artistic fancy: armchairs<\/a> with wings so exaggerated they look as if they\u2019re about to take off, dining chairs<\/a> with unusually high ladder backs with scalloped rungs, tables<\/a> with legs tapering to stiletto points.<\/p>\n\n\n

\n
\"Drawers<\/a>
The six-by-seven-foot piece<\/a> includes drawers that offer plenty of interior organization.<\/figcaption><\/figure><\/div>\n\n\n

MORENTZ’s rich-chestnut wardrobe \u2014 a wall spanner at seven feet wide and six feet high \u2014 is one of Buffa\u2019s more sober designs, a highly practical case piece<\/a> distinguished by an arrangement of wood slats akin to a woven basket across its front. Whimsy is evident as well, in the wavy edges of the base and legs.<\/p>\n\n\n\n

Buffa\u2019s relative obscurity, despite the high esteem in which he\u2019s held by connoisseurs and collectors, has kept the valuation of his output a shade under market. \u201cHe\u2019s not a household name, though his finest works now command prices on par with his more famous contemporaries,\u201d Verbeek says. \u201cThe trajectory is up.\u201d<\/p>\n\n\n\t

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The furniture of the Milanese architect and designer Paolo Buffa (1903\u201370) defies categorization. Buffa\u2019s meticulously crafted work spans the central decades of the 20th century, when neoclassical tastes were giving way to streamlined Art Deco and then to Jet Age modernism. He gracefully embraced them all, sometimes in a single piece, bringing his quirky syntheses 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its grid-like doors and wavy trim, the 1940s design feels as fresh as ever.","contributors":{"hide_byline":false,"columnist":[{"ID":361859,"post_author":"1","post_date":"2021-12-14 22:36:16","post_date_gmt":"2021-12-15 03:36:16","post_content":"","post_title":"Cara Greenberg","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"cara-greenberg","to_ping":"","pinged":"","post_modified":"2021-12-14 22:36:16","post_modified_gmt":"2021-12-15 03:36:16","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.1stdibs.com\/blogs\/the-study\/contributors\/cara-greenberg\/","menu_order":0,"post_type":"contributors","post_mime_type":"","comment_count":"0","filter":"raw"}],"photographer":"","custom_byline":false},"show_date":true,"interstitial_banners":[{"acf_fc_layout":"collection","interstitial_banner_shortcode":"morentz-banner","interstitial_banner_background_image":431050,"interstitial_banner_heading":"Shop Morentz 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