Bernini Furniture

A fine walnut desk produced by Bernini C1960s consisting of two drawers to the front with a central open storage space for ease of access . To the top there are two flip top doors re...

Italian White armchair mod. Nastro CL9 by Franca Stagi and Cesare Leonardi for Bernini, 1960s Iconic and modern armchair mod. Nastro CL9 with seat and back made of a single white fi...

Very rare and elegant small desk by gianfranco frattini for bernini by opening the drawer the jalousie cover at the back opens. very special piece.

Gianfranco Frattini for Bernini set of six walnut and black leather chairs, Italy 1981 circa. This set, designed by Gianfranco Frattini for Bernini, is characterized by a splendid co...

Mid-Century Italian Wooden Coffee Table by Gianfranco Frattini for Bernini, 1960s

This walnut veneered sideboard was designed by Silvio Coppola for Bernini in Italy in the 1960s. A nice detail is that the 2 outer drawers open in a rounding. Because of its shape it...

Coppia Comodini modello 554 disegnato negli anni 50 da Gianfranco Frattini per Bernini. I comodini sono in legno esotico con particolari colori e venature fiammate Condizioni: i co...

During the 1980s, Italian design was undergoing a transformation; moving away from modernist restraint toward a language of invention and mechanical clarity. The 'Click' dining table...

Frattini graduated in architecture from the Milan Polytechnic in 1953. He opened his professional studio in Milan, after working in the studio of his teacher and mentor Gio Ponti. Hi...

Elegant mahogany wood desk with aluminum inserts designed by Gianfranco Frattini for Bernini in 1960. Hardwood and wood veneer, details on feet and the bottom in aluminum. Pull-out t...

Scuderia Credenza by Carlo Scarpa for Bernini, 1970s Credenza Model Scuderia by Carlo Scarpa for Bernini with four doors in national walnut with double -cylinder lateral elements. We...

Sideboard in walnut wood from the Scaligera series designed by Franco Poli for Bernini in the 1980s. The sideboard presents doors with inner shelves, drawers, and flap-opening compa...

The Model 522 table, designed by Gianfranco Frattini and produced by Bernini, is a refined piece crafted in wood. Featuring clean geometric lines, straight legs, and a round tabletop...

Rare writing desk model Sesamo 841 designed by Gianfranco Frattini for Bernini production circa 1982. Circular supporting structure in black lacquered iron top in precious black fold...

Ico and Luisa Parisi vanity desk from Hotel Lorena, Grosseto manufacured by Ditta Bernini Italy, 1959-60 this desk is very rare because this is the large version of the desk and...

Set of of 6 model 620 chairs designed in the mid-60s by Silvio Coppola for the historic luxury furniture brand Bernini. This chair fully represents the style for which Bernini pro...

Silvio Coppola for Bernini, set of 6 dining chairs, stained wood, black leather, Italy, 1960s This set of chairs was designed by Silvio Coppola for Bernini in the 1960s. These chair...

Gaetano Pesce “543 Broadway” chairs for Bernini, epoxy resin, stainless steel, gum, 1993, set of six. The eclecticism and genius of Gaetano Pesce are explicitly visible in his iconi...

In this listing you will find a spectacular and exceptionally rare Mid Century Modern Desk designed by Gianfranco Frattini and manufactured by Bernini. The table is done in rosewood....

Small walnut wood chest of drawers with metal details from the 1960s. Designed by Gianfranco Frattini and manufactured by Bernini. Some stains on the metal and dents on the wooden to...

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...

Chest of drawers/dressing table realized by Fabio Lenci for Chest of drawers/dressing table realized by Fabio Lenci for Bernini in 1970s. Two adjustable elements hinged together in s...

Rare and unusual desk designed by Gianfranco Frattini for Bernini. By pulling the desk top out you open the rolltop. This desk cabinet has a lot of storage space, 10 drawers at the f...

Carlo Scarpa for Bernini, dining chair, model '765', walnut veneer, leather, designed in 1934, produced in 1977. This well-proportioned chair is designed by Carlo Scarpa in 1934, a...

Model 540 modular bookcase designed by Gianfranco Frattini for Bernini (ca. 1960s, Italy). Uncommon rosewood example composed of four vertical slatted-rails creating three bays inclu...

Carlo Scarpa Black Leather “Kentucky” Dining room Chairs for Bernini, Italy 1977 "Set of six model 783 "Kentucky" dining room chairs, designed by Carlo Scarpa for the Italian manuf...

Pranzo ( Lunch ) is a cupboard clearly inspired by the Lombard cabinetmaking tradition in walnut wood, reflecting Silvio Coppola's essential approach to design; a design free from fl...

Walnut writing desk model 804 designed in 1961 by Gianfranco Frattini for Bernini, Italy. Tambour top that hides small drawers and a pull out leather writing surface. Front side with...

Storage unit from the Combi Center series, stackable element system with wooden frame, aluminium sliding panels and light level with perspex diffuser. Mahogany wood, aluminium, mirro...

Stunning medium sized writing desk model 530 designed by Gianfranco Frattini and manufactured by Bernini, Italy 1957. This desk is made of nicely grained rosewood and cherrywood vene...

Behold the exquisite craftsmanship of the small sideboard or cabinet, a testament to the visionary design of Gianfranco Frattini and the masterful production of Bernini, Italy, in 19...

Astonishing Model 302 dining table designed by Angelo Mangiarotti and made by Bernini in Milan, Italy  in 1959. This specific table is the biggest version of the Model 302, with a la...

Scuderia dining room set, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Composed of 5 mod. 783 “Kentucky” dining chairs...

Model 804 desk by Gianfranco Fattini. The roll top opens by pulling on the leather-encrusted writing surface. There are two glass shelves at the back. On top, there's a glass shelf...

Chest of drawers/dressing table made of two adjustable compartments hinged together, which can be opened and closed as demonstrated on the photos. Made of solid wood and veneered ply...

The Luigi 902 (O mi amate voi?) shelf, with a lacquered wood frame and a metal base, was designed by Gaetano Pesce and produced by Bernini in 1981. The Luigi 902 is a free-standing shelf with a double frame in wood and metal and two tilting shelves that can be blocked in a horizontal position through a screws system placed directly on the frame. When the shelves are down the bookcase functions like a screen or a divider The base of the wooden structure has a metal reinforcement to ensure balance and stability. Gaetano Pesce is a prominent contemporary Italian designer and architect known for his bold experimentation with materials and color. Throughout his career, he has collaborated with some of Italy's leading design companies, including Artemide, Vitra, Cassina, and B&B Italia. Born in 1939 in La Spezia, near Genoa, Pesce enrolled at the University of Venice in 1959 to study architecture and graduated in 1965. During the final years of his studies, he also participated in courses at the Venice College of Industrial Design, where he was influenced by distinguished faculty members like Ernesto Nathan Rogers and Mario Bellini. Encouraged by their teachings to embrace innovation in modern design, Pesce became involved with an avant-garde architectural collective called “Gruppo N,” which drew inspiration from the streamlined aesthetics of the Bauhaus. These diverse inspirations equipped Pesce to embrace contemporary materials and explore the forms they enabled. His designs range from small decorative objects to large architectural spaces and reflect deep contemplation of the modern era. Notable works include his iconic La Mamma chair...

Set of 5 mod. 783 “Kentucky” dining chairs, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Structure made from oak and walnut timber. Seats and backrest made from cognac leather. Excellent vintage condition. Carlo Scarpa designed this chair for the “Scuderia” series., the last project he made for Bernini. The architect took inspiration from the “shaker” movement. He designed the chair slightly inclined at the front. This feature allows you to swing backward (until you lean on a wall) and remain in balance. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. A year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity. From 1927, Carlo Scarpa began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building that stands on the Grand Canal banks, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa found himself constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, all worth mentioning. One of his key works, despite its relatively modest diminished proportions, was the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and clearly shows Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in terms of how twentieth-century museums were set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his most significant ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of: – Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) – Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on the renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions, working on the Carlo Felice Theatre in Genoa and another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa started building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures, occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, rising up out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem,” [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea” followed by a cloister which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways teamed with the luminosity of these harmoniously blended spaces shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure.” Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded eight years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana,” “Quatour,” and “Orseolo.” While in 1974, they added couch and armchair “Cornaro” to the collection and the “Toledo” bed...

Writing desk model 807 designed in 1961 by Gianfranco Frattini for Bernini, Italy. Tambour top that hides small drawers and a pull out leather writing surface, ten drawers in the low...

The walnut sideboard, model 602, designed by Silvio Coppola for Bernini in the 1960s–70s, is an iconic piece for lovers of Italian mid-century design — particularly admired for the c...

522 model rectangular dining table in Palo Santo, designed by Gianfranco Frattini for Bernini. A timeless table with an iconic design, perfectly crafted in a very noble wood.

Gaetano Pesce “543 Broadway” chairs for Bernini, epoxy resin, stainless steel, gum, 1993, set of three. The eclecticism and genius of Gaetano Pesce are explicitly visible in his ico...

" CANGRANDE " table by Franco Poli for Bernini, Italy 1970' A superb solid walnut wood table with a lovely beveled crystal top with sandblasted frosted bands by Italian designer Fra...

Ico and Luisa Parisi vanity desk from Hotel Lorena, Grosseto manufacured by Ditta Bernini Italy, 1959-60 wood, mirrored glass and laminate Measures: H 75cm,110 x 45 cm ; total hei...

this rare pair of bedside tables was produced by the famous Italian luxury furniture company Bernini in the late 1970s early 1980s nightstands bear the production mark on the inside ...

A beautiful Midcentury rosewood writing desk by an Italian design icon, Gianfranco Frattini for Bernini was made in Italy in 1957. This sleek proportioned desk is model 530 and featu...

Gaetano Pesce “543 Broadway” chairs for Bernini, epoxy resin, stainless steel, gum, 1993, set of two The eclecticism and genius of Gaetano Pesce ar...

Beautifully restored mid century roll top desk. Italy c1960 Lovely warm patina to the wood. Leather writing surface, acrylic box tidys,

Modular furniture by Vittorio Introini for Bernini 1970s. In wood open-pore painted in unusual silver color, the modules are free-standing and can b...

This sculptural sideboard, designed by Silvio Coppola for Bernini during the early 1960s, exemplifies the architect’s dedication to pure geometries, solid construction, and functiona...

This elegant Mid-Century sideboard, model 603, was designed by Silvio Coppola for Bernini around 1964 and exemplifies the refined craftsmanship of Italian modernism. Executed in beau...

A Mid-Century Modern walnut cabinet / end table designed by Gianfranco Frattini. This cabinet has two (2) top drawers having round handles and three (3) drawers with oval integral ha...

Franco Poli Table “Cangrande” in Walnut for Bernini, Italy 1970s A superb solid walnut wood table with a lovely beveled crystal top with sandblasted frosted bands by Italian designe...

Square extensible walnut table designed by Silvio Coppola for Bernini production 1970s. The measurements of the open table become W 155 D 155 H 70.5 cm Graduated in Architecture fro...

In this listing you will find an exceptionally rare Mid Century Modern coffee table designed by Gianfranco Frattini for Bernini. The table is done in Zebrano wood and walnut, featuri...

The table model 611 was designed in early '60s and it has with wooden frame and top with movable compartment and glazed ceramic storage elements, that can be used for sharing appetiz...

Round aluminium and wood wardrobe with one drawer, 2 sliding doors, storage space and wheels. Designed by Joe Colombo. Wear due to time and age. FOR SHIPPING, REQUEST US FOR RECEIVE ...

Mid Century Modern Italian Buffet Cabinet by Silvio Coppola for Bernini The cabinet can be used with or without the top display Features plenty of storage In need of minor refinishin...

TV stand cabinet from the 1970s made by Bernini (brand name visible). Wooden frame, walnut veneer and rubber for the TV supporting part, 4 wheels to allow easier movement. The TV su...

Beautiful table designed by architect Silvio Coppola and produced by Bernini. Of considerable ingenuity is the mechanism that allows the central part of the table to rise. Equipped w...

Italian Mid-Century Modern armchairs Altopiano by Franco Poli for Bernini, 1970s Two armchairs Altopiano, upholstered in their original gray leather: fully upholstered, with wooden legs in a hemisphere with slightly lighter leather on one of the two seats. Designed by Franco Poli for Bernini, 1970s. Excellent condition, vintage patina leather...