Bernini Furniture

Square walnut table, model 612, designed by Silvio Coppola in 1964. Manufactured by Bernini in Italy. Extendable into a large dining table. Literature: G. Gramigna, Repertorio del Design Italiano...

More than just a bookcase but rather a small architectural masterpiece that is the focal point of any space, the Model 795 bookshelf (sometimes called the “Serie 1935” or “Liberia 19...

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...

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.

“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...

Made in Italy, 1950s. Mod. 522 designed by Gianfranco Frattini and produced by Bernini. It is a vintage piece, therefore it might show slight traces of use, but it can be considere...

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...

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...

Astonishing coffee table mod. 554 designed by Gianfranco Frattini in 1957 for Bernini. Versatile and elegant This incredibly elegant coffee table has two drawers with carved handles and the two iconic curved legs are connected by a central support. The Table was made and tested as can be seen in the photos on January 31, 1964 and still has its original tag. It is in excellent condition. This beautiful coffee table is the perfect addition for mid-century living room. Measures (cms): width - 70 depth - 53 height - 47.5 Gianfranco Frattini opened his own professional practice in Milan, after having worked in the office of his teacher and mentor Giò Ponti. Frattini became an Industrial designer by default when he lacked appropriate lighting and furniture for his interiors. His collaboration with Cesare Cassina for his namesake company started in 1954, followed by collaborations with many other manufacturers, such as Bernini, Arteluce, Acerbis, Fantoni, Artemide (for whom among others pieces with Livio Castiglioni he designed the historic Boalum lamp...

Dining table and six chairs by Gianfranco Frattini A table and six chairs designed by Frattini and produced by Bernini in Italy in 1957. The model 552 dining table has two hourglass...

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...

This set of four chairs was designed by Silvio Coppola for Bernini, and produced in the 1960 in Italy. The chairs frame are made of beech wood with foam padding and leather upholstery.

Silvio Coppola graduated in Milan Polytechnic with a degree in architecture. As an architect he designed buildings in Baghdad, university towns in Zaire, housing and hotel facilitie...

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...

This elegant armchair was designed by Gianfranco Frattini and produced by Bernini. For its eccentric design, Bernini was inspired by the style of the 1950s. Note the flowing lines of...

A Black Leather armchair Designed by Massimo and Lella Vignelli for Bernini. Both seat and backrest are covered in Black Leather.

Gianfranco Frattini rosewood sideboard for Bernini with two tambour doors and shelving. It can be used as room divider because it has rose...

Wooden secretary. The roll top opens by pulling on the leather inlaid writing surface, underneath it are small drawers. This secretary has 10 drawers in the front, several drawers behind the roll top and in the back there are two glass shelves. The legs are made of solid wood and are connected by aluminum strips. On the top there is a glass shelf on which you can put objects while using the rolling...

This elegant dining chair was designed by Gianfranco Frattini and produced by Bernini. For its eccentric design, Bernini was inspired by the style of the 1950s. Note the flowing line...

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...

Mid Century Italian Walnut "Scuderia" Sideboard by Carlo Scarpa for Bernini - 1970s.

Silvio Coppola for Bernini, sideboard, walnut, Italy, 1966 This impressive sideboard or credenza was designed by Silvio Coppola. It is well...

Rare italian desk, Giotto Stoppino for Bernini Italy, 1969 Rosewood and chrome metal Bibliography: G. Gramigna, 1950-1980 repertorio...

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

Walnut sideboard by Silvio Coppola for Bernini. Small production Italian designer who's work is rarely available in the US. Italy, 1960's

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...

Gorgeous rosewood coffee table by Gianfranco Frattini for Cassina. Very good condition Any defects on the top (look at the pictures).

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...

Behold, a masterpiece of design and function, the Classic Writing Desk Model 530, a creation of the renowned Gianfranco Frattini, crafted by the s...

Large Silvio Coppola dining table in walnut for Bernini circa 1968. An updated yet timeless version of a farm table which could be used in nearly any environment.

Tapio Wirkkala for Asko, set of six dining chairs, plywood, nickel-plated steel, Finland, 1950s Beautiful set of 'Nikke' chairs design by the Finnish designer Tapio Wirkkala. This ...

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 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...

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

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...

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...

Carlo Scarpa for Bernini, pair of dining chairs model '765', walnut, black leather, design 1934, production 1970s These well-proportioned chairs are designed by Carlo Scarpa in 1934...

The "Model 522" round table was designed by Gianfranco Frattini and manufactured by Bernini in Italy of the 1960s. It is made of rosewood and with its geometric shapes, straight lin...

Rectangular dining table model 522, designed by Gianfranco Frattini and produced by Bernini starting in 1960, made of walnut wood. The table is in good condition, showing normal wear...

Scrivania da centro con serranda e piano estraibile, presenta dei cassetti interni e un contenitore per cancelleria in materiale plastico. Il materiale è il legno massello (frontali ...

Mobile credenza con alzata con vani a giorno completa di ceramiche originali con marchio Bernini, ante a battente. Legno impiallacciato noce. Buone condizioni originali.

Libreria con ante in vetro a scorrimento verticale mediante contrappeso, legno impiallacciato noce. Buone condizioni.

Silvio Coppola expanding "Bigfoot" dining table for Bernini, Italy, 1960s Silvio Coppola for Bernini, dining table, walnut, brass, Italy, 1960s. Stunning square shaped dining tabl...

A table made of veneered wood and solid walnut; Silvio Coppola designed this line of furniture in the 1960s for Bernini that took up the theme of 'popular' furniture.

Dining table by Angelo Mangiarotti model 302 produced by Bernini, Italy 1959. This stunning dining table is composed of a large circular arabescato marble top mounted on a tulip sha...

Set of 4 chairs by Silvio Coppola for Bernini, 1960s. Dimensions: H= 82 cm; W= 45 cm; D= 46 cm; H seat= 47 cm.

Iconic sideboard, model 503, design by Gianfranco Frattini, manufactured by Bernini, 1960 Italy circa. Three vertical tambour doors, four drawers on...

Silvio Coppola for Bernini, set of four dining chairs, model '330', cognac leather, walnut, Italy, 1960s Wonderful set of four dining chairs in cognac leather and walnut wood by Ita...

Long Italian sideboard with tambour doors. The piece was designed by Gianfranco Frattini for Bernini Manufacture and produced around 1960s with ...

Walnut low chest of drawers designed by Gianfranco Frattini manufactured by Bernini. Iconic piece of Gianfranco Frattini, this elegant sideboard present five drawers for each side,...