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Carlo Scarpa Furniture

Italian, 1906-1978

Carlo Scarpa is known as a virtuoso of light, a master of detail and a connoisseur of materials.

Scarpa is most well-known for his architectural projects, counting 58 in total. Most famous are the Castelvecchio Museum in Verona, the Olivetti showroom in Venice and the Brion Tomb in San Vito d’Altivole. Scarpa's use of lush decorative aspects and crafted details are still unrivaled. His designs show clear traits of his aesthetic language, which holds the middle between Japanese minimalism and organic forms of nature.

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Creator: Carlo Scarpa
Mod. "Poliedri" Murano Glass Ceiling Lamp by C. Scarpa for Venini 1960s, Italy
By Venini, Carlo Scarpa
Located in Palermo, IT
Very stylish chandelier, ceiling lamp mod. "Poliedri" by Carlo Scarpa for Venini, with Murano glass modular elements and metal structure with 12 lights on three levels (6+3+3). Itali...
Category

1960s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Metal

Delfi Table by Carlo Scarpa & Marcel Breuer for Cassina
By Marcel Breuer, Carlo Scarpa
Located in Carpi, IT
The Delfi table by Carlo Scarpa for Cassina of the 60s and 70s is an iconic work of Italian design. This piece has a polished white marble surface that blends perfectly with its geom...
Category

1960s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Carrara Marble

Italian Midcentury Murano Glass Pendant Lamp by Carlo Scarpa for Venini, 1940s
By Carlo Scarpa
Located in Traversetolo, IT
This exquisite chandelier is a true masterpiece of Italian design. Crafted from polished aluminum and Murano glass, it exudes elegance and sophistication. The piece was created in th...
Category

1940s Italian Vintage Carlo Scarpa Furniture

Materials

Aluminum

12 Light Chandelier Designed by Carlo Scarpa for Venini, Signed Venini 2009/16
By Carlo Scarpa, Venini
Located in Merida, Yucatan
12 Light chandelier designed by Carlo Scarpa for Venini , Model 99.37 in Murano Italy. This Chandelier originally designed in 1940 was manufactured in 2009. All the pieces are in ...
Category

1930s Italian Art Deco Vintage Carlo Scarpa Furniture

Materials

Brass

Bronze Sculpture Signed Carlo Scarpa, Italy
By Carlo Scarpa
Located in Brussels, BE
Bronze Sculpture signed Carlo Scarpa, Italy.
Category

1940s Vintage Carlo Scarpa Furniture

Materials

Bronze

Venini Esagonale Caraffa in Straw Yellow and Coral by Carlo Scarpa
By Venini, Carlo Scarpa
Located in Brooklyn, NY
Esagonale Glass Glass collection, designed by Carlo Scarpa and manufactured by Venini, originally designed in 1932, consists of three glasses and a decanter. Esagonale Caraffa / deca...
Category

21st Century and Contemporary Italian Modern Carlo Scarpa Furniture

Materials

Glass

Carlo Scarpa for Venini Reticello Murano Glass Globe, Italy, circa 1940
By Venini, Carlo Scarpa
Located in New York, NY
A hand blown glass globe / sphere with stunning reticello glass design, wiith brass stem and canopy. Designed by Carlo Scarpa for Venini, circa 1940. A c...
Category

1940s Italian Vintage Carlo Scarpa Furniture

Materials

Brass

Samo Table in white marble, Carlo Scarpa
By Carlo Scarpa
Located in Milano, IT
Carlo Scarpa's Samo Table is made of white marble. The legs are seated by a single block with grooves and thick oval top. If you belong to the ‘Ultrarational’ series, this item is on...
Category

1960s Italian Modern Vintage Carlo Scarpa Furniture

Materials

Carrara Marble

‘Delfi’ Table by Carlo Scarpa and Marcel Breuer for Simon, 1960s
By Carlo Scarpa
Located in Milano, IT
‘Delfi’ model marble table, produced by Simon since 1969. The Delfi table is the result of Carlo Scarpa’s reworking of a conceived table in the 1930s by Marcel Breuer. Specifically...
Category

1960s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Marble

Marble Table Design by Carlo Scarpa for Cattelan, 1970, Italy
By Cattelan Italia, Carlo Scarpa
Located in Oostrum-Venray, NL
An iconic table designed by the legendary architect and designer Carlo Scarpa for Cattelan Italia in the 1960s. This particular table has a later production date somewhere in the lat...
Category

1970s Italian Vintage Carlo Scarpa Furniture

Materials

Marble

Carlo Scarpa for Bernini Set of Ten Dining Chairs in Walnut and Leather
By Bernini, Carlo Scarpa
Located in Waalwijk, NL
Carlo Scarpa for Bernini, set of ten dining chairs, model '765', walnut veneer, leather, designed in 1934, produced in 1977. These well-proportioned chairs are designed by Carlo ...
Category

1970s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Leather, Walnut

Piccolo Vetro Di Murano Carlo Scarpa
By Carlo Scarpa
Located in Milano, MI
L (cm) 5 Epoca Anni '40 Provenienza Venezia Artista Carlo Scarpa Manifattura adriatica Venezia Materiale Vetro di Murano Categoria Murano.
Category

20th Century Italian Carlo Scarpa Furniture

Materials

Murano Glass

Italy 1960 Carlo Scarpa Design Pair of Red Velvet Armchairs for Auditorium
By Carlo Scarpa
Located in Brescia, IT
This is a set of Carlo Scarpa armachairs designed and realized for the Auditorium in Rome, project by the Italian architect Marcello Piacentini, bu...
Category

Mid-20th Century Italian Modern Carlo Scarpa Furniture

Materials

Iron

20th Century Samo Table in White Carrara Marble Designed by Carlo Scarpa
By Carlo Scarpa
Located in Firenze, IT
Samo table in white Carrara marble designed by Carlo Scarpa for Simon. The table has an elliptical top resting on two legs that have a shaped and ribbed column section, Italy, 1970s....
Category

20th Century Italian Carlo Scarpa Furniture

Materials

Carrara Marble

Pair of 'Poliedri' Ceiling Lights
By Carlo Scarpa, Venini
Located in London, GB
A pair of original Venini 'Poliedri' chandeliers coloured glass, chrome-plated steel. Shades designed by Carlo Scarpa. 28 cm (11 in.) drop, 54 cm (21 1/4 in.) diameter P...
Category

1950s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Steel

Carlo Scarpa Green Poliedri Chandelier in Murano Opaline Glass for Venini, 1958
By Carlo Scarpa, Venini
Located in Vicenza, IT
“Poliedri” chandelier designed by Carlo Scarpa and produced by the Italian manufacturer Venini in, 1958. Made of opaline Murano glass. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. Only 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, he 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 which stands on the banks of the Grand Canal, 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, which are all worth mention. One of his key works, despite its relatively modest diminished proportions, was the first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly 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 to be 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 greatest ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the 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 renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider being 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 which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as 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 began work 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 8 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...
Category

1950s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Glass, Murano Glass

Carlo Scarpa for Bernini Set of Four Dining Chairs in Walnut and Leather
By Bernini, Carlo Scarpa
Located in Waalwijk, NL
Carlo Scarpa for Bernini, set of four dining chairs, model '765', walnut veneer, leather, designed in 1934, produced in 1977. These well-proportioned chairs are designed by Carlo...
Category

1970s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Leather, Walnut

Early Carlo Scarpa Quatour Table for Simon Gavina, Italy, 1974
By Carlo Scarpa, Simon Gavina Editions
Located in Milan, IT
Early and Large version Carlo Scarpa Quatour table for the Metamobile series by Simon Gavina, Italy 1974.
Category

1970s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Wood, Pine

Bar Cabinet by Carlo Scarpa, Italy, 1950s
By Carlo Scarpa
Located in Antwerp, BE
Mid-Century Modern two-door cabinet; Carlo Scarpa; 1950s; Italy; Trapezoid shaped storage piece in Walnut on solid hexagonal legs. The cabinet lights up inside. Could also serve a...
Category

1950s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Brass

Carlo Scarpa for Simon 'Cornaro' Sofas in Mahogany and Jade Velvet
By Simon Collezione, Carlo Scarpa
Located in Waalwijk, NL
Carlo Scarpa for Simon Collezione, 'Cornaro' sofa, jade velvet fabric, stained mahogany, Italy, 1973 The 'Cornaro' sofa by Carlo Scarpa is a perfect example of the Ultrarazionale ...
Category

1970s Italian Post-Modern Vintage Carlo Scarpa Furniture

Materials

Mahogany, Velvet

Carlo Scarpa 'Samo' Dining Table for Simon Gavina, Italy, 1970s
By Simon Gavina Editions, Carlo Scarpa
Located in Hellouw, NL
This Italian dining table from the 1970s exudes timeless elegance and beauty. It was designed by perhaps one of the prominent Italian modernist designers of the last century. What im...
Category

1970s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Granite

Carlo Scarpa Iroko Wood and Green Velvet Cornaro Sofa for Studio Simon, 1974
By Studio Simon, Carlo Scarpa
Located in Vicenza, IT
Cornaro two-seater sofa, designed by Carlo Scarpa and manufactured by Studio Simon in 1974. Made of Iroko wood, foam, and azure chenille velvet. Excellent vintage condition. Born in Venice on June 2nd, 1906, Carlo Scarpa began working very early. Only 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, he 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 which stands on the banks of the Grand Canal, 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 was 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 first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly 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 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 incredible ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the 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 renovating and restoring the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he worked on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began building a villa in Udine for the Veritti family. To shed some light on how much his work evolved over the years, it may be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near 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 which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as 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, plenty of other episodes can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen in 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 carried out simultaneously 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, arising 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 that ends by a small chapel, with an arcosolium bearing the family sarcophagi, the central 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 his many skills to come up with this truly magnificent space. As well as an outstanding commitment to architectural work, with the many projects 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 a couch and armchair, “Cornaro,” to the collection and the “Toledo” bed...
Category

1970s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Chenille, Wood, Velvet, Foam

Murano Glass Floor Lamp with Suede Shade by Carlo Scarpa for Venini, Italy 1940s
By Carlo Scarpa
Located in Greding, DE
Large floor lamp with torded base in clear glass with brass mounts and suede covered lampshade with gold foil. The floor lamp has two sockets and a push switch at the top of the stem...
Category

1940s Italian Modern Vintage Carlo Scarpa Furniture

Materials

Brass

Carlo Scarpa Cornaro Loveseat / Armchair, Original Fabric, Italy, 1970s
By Carlo Scarpa
Located in London, GB
An original Carlo Scarpa Cornaro loveseat / armchair, original fabric, Italy. Produced by Gavina in the 1970s. We can reupholster in COM at additional cost. Fast shipping worldwide. ...
Category

Mid-20th Century Italian Mid-Century Modern Carlo Scarpa Furniture

Materials

Chrome

Carlo Scarpa "Samo" Oval Table for Simon Gavina, 1971
By Simon Gavina Editions, Carlo Scarpa
Located in Lonigo, Veneto
Carlo Scarpa "Samo" oval table for Simon Gavina, white Carrara marble, Italy, 1971. The Scarpa's way of thinking the architecture is particularly visible in this piece. The “Samo” d...
Category

1970s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Carrara Marble

Model 795 Bookcase by Carlo Scarpa for Bernini
By Bernini, Carlo Scarpa
Located in Brooklyn, NY
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...
Category

Late 20th Century Mid-Century Modern Carlo Scarpa Furniture

Materials

Metal

Mid-Century Mod Delfi White Marble Dining Table by Carlo Scarpa & Marcel Breuer
By Carlo Scarpa, Marcel Breuer
Located in Madrid, ES
Dining table mod. Delfi designed by Carlo Scarpa and Marcel Breuer for Gavina. Composed of two sculptural bases and a rectangular top 4 cm thick. Made in Carrara marble. Italy 1968. ...
Category

1960s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Carrara Marble

Travertine Dining Table Base by Designer Carlo Scarpa
By Carlo Scarpa, Cattelan Italia
Located in Vilnius, LT
Italian travertine dining table base. Sold without glass. A sculptural dining table base made from travertine is a truly stunni...
Category

1970s Italian Vintage Carlo Scarpa Furniture

Materials

Travertine

Carlo Scarpa for Simon 'Gritti' Large Table in Mahogany
By Carlo Scarpa
Located in Waalwijk, NL
Carlo Scarpa for Simon, 'Gritti' table, stained mahogany, leatherette, Italy, 1973. Made in 1973, this grand table is the result of Carlo Scarpa's architectural sensibility construc...
Category

1970s Italian Post-Modern Vintage Carlo Scarpa Furniture

Materials

Faux Leather, Mahogany

Pair of Shell Sconces by Carlo Scarpa for Venini
By Carlo Scarpa, Venini
Located in Los Angeles, CA
Pair of shell sconces by Stilnovo. Designed and manufactured in Italy, circa 1930. Minimal and impressionistic glass shells. Soft light diffusion...
Category

1930s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Brass

1940s Little Desk and Stool by Carlo Scarpa
By Carlo Scarpa
Located in Paris, FR
Carl Scarpa Desk and stool 1942 Black walnut Measures: Desk : H. 78 x 73 x 44 cm Stool : H. 44.5 x 55 x 35 cm A rare example of the influence of decorative arts from Japan.
Category

1940s Italian Japonisme Vintage Carlo Scarpa Furniture

Materials

Walnut

Carrara Marble Dining Table Model 'Samo' by Carlo Scarpa, 1973
By Carlo Scarpa
Located in Vicenza, VI
Table model "SAMO" by italian architect and designer Carlo Scarpa made entirely of Carrara marble produced by Simon International in 1973 belonging to the "Ultrarazionale" series, fe...
Category

1970s Italian Modern Vintage Carlo Scarpa Furniture

Materials

Carrara Marble

Marble Table by Carlo Scarpa for Cattelan Italia
By Carlo Scarpa, Cattelan Italia
Located in Albano Laziale, Rome/Lazio
This table was designed by the famous architect and designer Carlo Scarpa for Cattelan Italia in the 1960s, but it was produced in the late 1970s or early 1980s. The leg bases are ma...
Category

Late 20th Century Italian Modern Carlo Scarpa Furniture

Materials

Marble

Vaso a Bollicine
By Venini, Carlo Scarpa
Located in Milano, MI
Vaso a Bollicine Carlo Scarpa Venini & C. 1932 Measures: height cm 34, diameter cm 25 XVIII Biennale di Venezia del 1932 Bibliography: Murano Mi...
Category

1930s Italian Vintage Carlo Scarpa Furniture

Materials

Murano Glass

Venini Pink and Ice Original Poliedri Chandelier by Carlo Scarpa, 1955
By Carlo Scarpa
Located in Playa Del Rey, CA
Fabulous original Venini Poliedri chandelier by Carlo Scarpa, who is known as a virtuoso of light, a master of detail and a connoisseur of materials. Scarpa's use of lush decorative aspects and crafted details are still unrivaled. His designs show clear traits of his aesthetic language, which holds the middle between Japanese minimalism...
Category

Mid-19th Century Italian Mid-Century Modern Antique Carlo Scarpa Furniture

Materials

Blown Glass

Carlo Scarpa Cognac Leather “Kentucky” Dining Chair for Bernini, 1977, Set of 5
By Carlo Scarpa, Bernini
Located in Vicenza, IT
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...
Category

1970s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Walnut, Leather, Plastic

Carlo Scarpa Mid-Century Modern Murano Glass Poliedri Chandelier by Venini
By Venini, Carlo Scarpa
Located in Puglia, Puglia
Italian chandelier from the island of Murano. This piece has a brass frame that supports an impressive array of 178 Murano glass, eggplant-colored, polyhedral shaped pieces. Illumina...
Category

1970s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Brass

Carlo Scarpa, Poliedri Chandelier, 1969 Murano Glass Light, Ø 85cm, 110cm height
By Carlo Scarpa, Venini
Located in Munster, NRW
Called "Poliedri" in Italian and known as "Polyhedral" in English, this design was created by Carlos Scarpa (1906-1978) for Venini when he was their art...
Category

1960s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Blown Glass

Carlo Scarpa & Marcel Breuer Naxos Marble “Delfi” Table for Studio Simon, 1969
By Marcel Breuer, Carlo Scarpa, Studio Simon
Located in Vicenza, IT
Delfi” dining table, designed by Carlo Scarpa and Marcel Breuer and produced by the Italian manufacturer Studio Simon in 1969. Made of white Nax...
Category

1960s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Marble

Carlo Scarpa for Bernini Set of Six Dining Chairs in Walnut and Leather
By Bernini, Carlo Scarpa
Located in Waalwijk, NL
Carlo Scarpa for Bernini, set of six dining chairs model '765', walnut, black leather, designed in 1934, produced in 1977. These well-proportioned chairs are designed by Carlo Sc...
Category

1930s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Leather, Walnut

Carlo Scarpa Murrine Serpente Bowl for Venini
By Carlo Scarpa
Located in Hamden, CT
An icon of Italian Design. Using one of the most ancient decorative techniques - "Murrine", small individual tiles are cut from canes ("canne") produced in each of the three colors (...
Category

Mid-20th Century Italian Mid-Century Modern Carlo Scarpa Furniture

Materials

Glass

Mid Century Carlo Scarpa "Doge" Brushed Steel Base Dining Table with Glass Top
By Carlo Scarpa, Gavina
Located in Bedford Hills, NY
The Doge table, designed by Carlo Scarpa, one of the cornerstones of the “Ultrarazionale” movement. Solid brushed steel supports connected with allen screws...
Category

1970s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Brass, Steel

Carlo Scarpa and Hiroyuki Toyoda for Simon Gavina Large Table
By Simon Gavina Editions, Hiroyuki Toyoda, Carlo Scarpa
Located in Waalwijk, NL
Carlo Scarpa and Hiroyuki Toyoda for Simon Gavina, conference table, fabric top, chromed steel, Italy, design 1973 Elegant conference table was initially designed by Carlo Scarpa ...
Category

1980s Italian Post-Modern Vintage Carlo Scarpa Furniture

Materials

Metal, Chrome

Oak Valmarana Dining Table by Carlo Scarpa for Gavina, Italy, 1970s
By Carlo Scarpa
Located in Chicago, IL
A gorgeous Valmarana table attributed to Carlo Scarpa for Gavina designed in the early 1970s. This sleek table was constructed with interlocked oak woo...
Category

1970s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Oak

Carlo Scarpa Mid-Century Brown Walnut “Scuderia” Dining Table for Bernini, 1977
By Carlo Scarpa, Bernini
Located in Vicenza, IT
“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...
Category

1970s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Walnut

20th Century Carlo Scarpa Venini Lattimo Vase "a Mezza Filigrana", 50s
By Carlo Scarpa, Venini
Located in Turin, Turin
In 1921 Venini and Cappellin opened a glass factory called Vetri Soffiati Muranesi Cappellin Venini & C. on the islands of Murano, the historic glass production centre in the lagoon ...
Category

1950s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Murano Glass

21st Century Serpente Glass Sculpture in Black/Coral by Carlo Scarpa
By Venini, Carlo Scarpa
Located in murano, IT
Ancient murrine form the pattern of a snake coiling up on glass. Conceived, redesigned and skilfully reinterpreted with rich contrasting colours, they reflect the highest craftsmansh...
Category

21st Century and Contemporary Italian Carlo Scarpa Furniture

Materials

Glass

21st Century, Serpente Glass Sculpture in Black / Milk-White / Turquoise
By Venini, Carlo Scarpa
Located in murano, IT
Ancient murrine form the pattern of a snake coiling up on glass. Conceived, redesigned and skilfully reinterpreted with rich contrasting colours, they reflect the highest craftsmansh...
Category

21st Century and Contemporary Italian Carlo Scarpa Furniture

Materials

Glass

21st Century Murrine Opache Bowl in Black/Coral by Carlo Scarpa
By Venini, Carlo Scarpa
Located in murano, IT
Countless Black and Coral pieces are woven together to form a symmetric yet imperfect pattern on slanted surfaces. VENINI’s glass grinding technique creates a typical shading effect ...
Category

21st Century and Contemporary Italian Carlo Scarpa Furniture

Materials

Glass

21st Century Murrine Opache Bowl in Black/Coral by Carlo Scarpa
By Venini, Carlo Scarpa
Located in murano, IT
Countless Black and Coral pieces are woven together to form a symmetric yet imperfect pattern on slanted surfaces. VENINI’s glass grinding technique crea...
Category

21st Century and Contemporary Italian Carlo Scarpa Furniture

Materials

Glass

Carlo Scarpa Big “Poliedri” Chandelier in Murano Opaline Glass for Venini, 1958
By Carlo Scarpa, Venini
Located in Vicenza, IT
“Poliedri” chandelier designed by Carlo Scarpa and produced by the Italian manufacturer Venini in, 1958. Made of opaline Murano glass. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. Only 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, he 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 which stands on the banks of the Grand Canal, 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, which are all worth mention. One of his key works, despite its relatively modest diminished proportions, was the first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly 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 to be 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 greatest ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the 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 renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider being 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 which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as 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 began work 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 8 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...
Category

1950s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Glass, Murano Glass

Carlo Scarpa "Argo" Oval Table for Simon Gavina, 1975
By Carlo Scarpa, Simon Furniture
Located in Lonigo, Veneto
Carlo Scarpa "Argo" oval table for Simon Gavina, Roman travertine, Italy, 1975. The "Argo" travertine console-table is part of the 'Ultrarazionale' ...
Category

1970s Italian Post-Modern Vintage Carlo Scarpa Furniture

Materials

Travertine

Carlo Scarpa Oval table clear glass and beige open travertine base Italy 1970
By Carlo Scarpa
Located in Paris, FR
Model "Samo" table oval slab of clear glass on travertine frame designed by Carlo Scarpa and edited by Simon. Italy, 1970s. Particular version made with natural beige travertine, and...
Category

Mid-20th Century Italian Mid-Century Modern Carlo Scarpa Furniture

Materials

Travertine

Carlo Scarpa Venini Murano Bollicine White Gold Flecks Italian Art Glass Vase
By Carlo Scarpa, Venini
Located in Kissimmee, FL
Beautiful antique Murano hand blown Sommerso clear white bubbles and gold flecks Italian art glass mini vase / vide poche. Documented to the Venini company, and created by master des...
Category

Mid-20th Century Italian Art Deco Carlo Scarpa Furniture

Materials

Gold Leaf

Carlo Scarpa Modernist Pitcher for Cleto Munari
By Cleto Munari, Carlo Scarpa
Located in Atlanta, GA
Modernist Silver Plate Pitcher, designed by Carlo Scarpa for Cleto Munari, Italy, circa 1970s. It has been hand polished.
Category

1970s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Metal

Carlo Scarpa, Cornaro Sofa for Dino Gavina, Italy, 1970s
By Carlo Scarpa
Located in Argelato, BO
Monumental sofa designed by the famous Italian architect Carlo Scarpa for the Simon Gavina company in 1973. The sofa has a solid structure one-unit side and back cushion fastened to ...
Category

1970s Italian Mid-Century Modern Vintage Carlo Scarpa Furniture

Materials

Fabric, Wood

Carlo Scarpa for Simon Gavina 'Toledo' Bed in Padouk and Leather
By Simon Gavina Editions, Carlo Scarpa
Located in Waalwijk, NL
Carlo Scarpa for Simon Gavina, 'Toledo' bed, padouk, maple, leather, aluminum, Italy, 1975 Created by the Italian master Carlo Scarpa, this bed clearly demonstrates his studies in a...
Category

1970s Italian Post-Modern Vintage Carlo Scarpa Furniture

Materials

Aluminum

Carlo Scarpa Poliedri Applique Wall Sconce for Venini
By Carlo Scarpa, Venini
Located in Brooklyn, NY
Poliedri applique, suspension lamp and wall sconce, designed by Carlo Scarpa and manufactured by Venini, were originally designed in 1958. Indoor use only. Dimensions: W 27 cm x ...
Category

21st Century and Contemporary Italian Modern Carlo Scarpa Furniture

Materials

Glass

Carlo Scarpa furniture for sale on 1stDibs.

Carlo Scarpa furniture are available for sale on 1stDibs. These distinctive items are frequently made of glass and are designed with extraordinary care. There are many options to choose from in our collection of Carlo Scarpa furniture, although brown editions of this piece are particularly popular. We have 176 vintage editions of these items in-stock, while there is 51 modern edition to choose from as well. Many of the original furniture by Carlo Scarpa were created in the mid-century modern style in europe during the 20th century. If you’re looking for additional options, many customers also consider furniture by Arredoluce, Paolo Venini, and Toni Zuccheri. Prices for Carlo Scarpa furniture can differ depending upon size, time period and other attributes — on 1stDibs, these items begin at £271 and can go as high as £81,055, while a piece like these, on average, fetch £7,675.

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