Carlo Ballabio Furniture

Mid-Century Modern Coat Hanger, Italy, 1950s

A pair of brass coat hangers designed and produced in Italy, 1940s

Servomuto by Anna Castelli Ferrieri for Kartell, Made in Italy, 1990s.  Red plastic and black metal floor-standing servant. The coat rack has two movable arms and are made of black l...

Italian Mid-Century Modern wooden structure and three brass hooks wall coat hanger. Elegant wall coat hanger, with four brass hooks with a typical midcentury and sixties design. Even...

Multifunctional hanger, storage and shelf in solid wood and exotic rope pattern, packs may functions in one solution to organize the outdoor and indoor space, this object is part of ...

Mid-Century Modern Hallstand/ Coat Hanger , Italy, 1960s

Mirror coat stand produced by the well-known Italian company Decovetro, production in the 70s. Composed of four thick glass hangers, classic mirror...

Wall-mounted Mid-Century coat hanger, model Gronda, designed by Luciano Bertoncini for Elco, Italy, 1970. Comprised of five modular units, each features a walnut wood front paired wi...

Modular coat hanger set produced by FIARM Scorzè in Italy in the 1960s. Design Carlo De Carli. Made of curved wood with holes for housing the bakelite knobs. Chest of drawers in lacq...

Umbrella and coat stand in one.

Mid-century Modern Large and Heavy Clothes Hanger, 1960s, Italy It is very ideal and suitable for all living areas. No damage, no crack. Wear consistent with age and use. Measurem...

A Space Age design with the coat hanger by Studio BBPR. Graduates of the Milan Polytechnic, the four designers in their early work followed the themes of Italian Rationalism of the 1930s, although they were not an integral part of the main 'Group 7' Movement and MIAR, they collaborated on some projects with Figini and Pollini; these compositional canons can be clearly read in an exemplary building such as the colonia elioterapica in Legnano (1938), where they also realised popular housing units, the so-called Le Grazie working-class neighbourhood (1940-1942). They distinguished themselves for various town-planning schemes, the Pavia Master Plan (1932), the Tourism Plan for the Island of Elba (1939), and above all for the most important and far-reaching, the Valle d'Aosta Master Plan (1936-1937). During this period they took an active part in the controversy that arose between rationalists and traditionalists and at first, like others, felt they could support the clash for freedom of expression and the triumph of modern architecture within fascism, but after the introduction of the racial laws of 1938 that also affected one of their collaborators, the BBPR architects...