Bernini Furniture

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...

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...

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...

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...

Rare coffee table/bar table produced in Italy in the 1960s by Bernini. The particular construction of this table allows it to be transformed from a normal coffee table into a contain...

“Scuderia” dining table, designed by Carlo Scarpa and produced by the Italian manufacturer Bernini in 1977. Originally, Carlo Scarpa designed the table to restore the stable of Villa Valmarana in Vicenza in 1972. The table features a solid walnut structure. Available also five “Kentucky” dining...

Francesco Fois for Bernini, 'Click' dining table, alder, steel, Italy, 1986 The table model Click, conceived by Francesco Fois for Bernini in the year 1986, stands as a testament t...

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...

Wooden low sideboard with 4 drawers designed by Gianfranco frattini. Wear due to time and age. FOR SHIPPING, REQUEST US FOR RECEIVE THE BEST PRICE

809/C sideboard, from the “Ovunque” series, designed by Gianfranco Frattini, and produced by the Italian manufacturer Bernini in 1981. Made of walnut. Excellent vintage condition. ...

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.

Sideboard designed by Carlo Scarpa and produced by Bernini starting in 1977 features four doors with double cylinder side elements. High-quality furniture, it is made of domestic wal...

A striking and substantial dining table designed by Silvio Coppola for Bernini, crafted in richly grained solid walnut. Produced circa 1968, the design is a modern reinterpretation o...

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...

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...

Hardwood writing desk designed by Gianfranco Frattini and produced by Bernini, Italy. The desk features a removable top part with extra drawers and storage compartments. This desk ca...

Angelo Mangiarotti for Bernini, dining table, model '302', cast bronze, marble, Italy, 1959 At first glance, the table appears deceptively simple: a perfect circle of white marble p...

Italian modern Wooden and glass Bookcase mod. Zibaldone by Carlo Scarpa for Bernini, 1974 Bookcase mod. Zibaldone with structure in veneered wood and glass. This particular bookcase ...

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...

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...

Small side table or a nightstand of hardwood. Designed by Gianfranco Frattini and produced by Bernini, Italy around 1960. Two drawers with built-in handles and central foot on two si...

Desk with drawers, leather-covered pull-out top, riser with shutter, small chrome-plated aluminum sliding doors and small drawers. Jacaranda veneer wood. Restaurato.

Originally designed in 1963 by Gianfranco Frattini, the Modello 823 bookshelf was manufactured by Bernini. After going out of production Poltrona Frau re-issued the design in 2022 un...

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...

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

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...

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...

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...

A midcentury Italian buffet cabinet designed by Silvio Coppola for Bernini. This walnut cabinet features two end doors revealing adjustable shel...

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 ...

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...

Elegant roll-top writing desk, model 804, designed by Gianfranco Frattini for Bernini in 1963. Crafted in fine wood, with a leather-covered writing surface. The piece features ten dr...

Wooden sideboard with 3 roll-top doors containing a shelf and 4 drawers. Stamped Bernini on the inside. Wear due to time and age FOR SHIPPING, REQUEST US FOR RECEIVE THE BEST PRICE

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...

Chest of drawers designed by designer Fabio Lenci for the Bernini company. Rare chest of drawers with mirror, produced with high quality materials made of coated wood and steel deta...

Iconic sideboard designed by Gianfranco Frattini for Bernini. Italy 1960 ca. Three vertical tambour doors on one side, with three large and two smal...

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...

Silvio Coppola, Bernini, Italian Mid-Century Modern, Walnut, Sideboard or Buffet, Italy, 1964 A "Pranzo 602" modernist sideboard designed by Silvio Coppola for Bernini in Italy c. 1...

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...

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...

Carlo Scarpa (1906- 1978) was an Italian architect and designer heavily influenced by the history of Venetian culture, materials and landscape. in 1926 obtained his diploma of Profes...

Interesting sculptural ‘Gregge’ coffee table in very good condition. Designed by architect Giulio Lazzotti. Produced by Bernini, Italy. Thick square glass top (18 mm.) The base...

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...

Tric chair designed by Achille and Pier Giacomo Castiglioni and produced by Bernini in Italy in the 1960s. Made entirely of black lacquered wood, Tric is a lightweight and practical ...

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...

Rosewood secretaire with gilt brass feet and handles, features four drawers and a flap with original lock and key, designed by Gianfranco Frattini for Bernini, 1960s. CONDITION: In ...

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...

Introducing a piece of furniture which is undoubtedly a symbol of timeless Italian design: a walnut table designed by the iconic architect and designer Silvio Coppola. This masterpie...

Original "Ribbon Chair" Model no CL9 - Design by Franca Stagi and Cesare Leonardi, manufactured by Bernini, Italy, 1961. Fiberglass and polyester seat, mounted on chromed steel frame. Age-appropriate condition. Lit.: Modern Furniture Classics...

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...

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...

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...

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...

Carlo Scarpa for Bernini, dining chair model '765', walnut, black leather, designed in 1934, production in 1970s This well-proportioned chair was designed by Carlo Scarpa in 1934, t...

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...

These striking black lacquer chairs are a compelling study in sculptural form and material tactility. Designed by Franco Poli for Bernini, Italy, in 1986. These chairs are crafted wi...

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...

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...