Carlo Scarpa Furniture

Carlo Scarpa chair lacquered in red and upholstered with Hermès fabric. About the artist: Carlo Scarpa (1906, Venice - 1978, Sendai, Japan) was an Italian architect who graduated fr...

Gorgeous oval shaped table by Carlo Scarpa in cream travertine marble. Italy, 1970's "Argo" center or dining table designed for the Ultrazionale" collection Single pedestal with w...

The three-seater wooden and fabric sofa, model Cornaro, was designed by Carlo Scarpa for Simon Gavina in 1973. This sofa boasts a spacious and comfortable seat comprised of a series...

The 20th Century Panel Mirror with Autoportrait of Carlo Scarpa for Gavina is a captivating fusion of art and function. Designed by the renowned Carlo Scarpa, this mirror features an...

Postmodernist pedestal table with Carrara marble sculpture base designed by Carlo Scarpa for Cattelan in Italy, 1970s. Measurements: Diameter 117 x H 73 cm Alberto Carlo Scarpa was...

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...

Sculptural steel table - Carlo Scarpa dining table - Italian Collectible Design Beautiful, timeless and rare "Sarpi" dining table, designed in 1974 by architect Carlo Scarpa for Sim...

Iconic dining table with oval top model 'Samo' designed by Carlo Scarpa in 1970 and produced by Simon; in white saccaroid marble.

Doge table in glass and steel, designed in 1968 by one of the most influential Italian architects and designers Carlo Scarpa for the great Italian visionary Dino Gavina and his compa...

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...

Carlo Scarpa "1934" dining chair for Bernini, walnut and reddish brown leather, Italy, 1977, set of six. Initially designed for Scarpa's own Venetian house in 1934, this model came up to production only in 1977. This chair demonstrates his architectural attitude toward furniture design. The sophisticated and right-angled base contrasts with the backrest essentiality, further enriched by its curvaceous shapes. A remarkable detail is an open cut on the back that diverges at the bottom, resulting in an unusual yet genuine form. Although an apparent disharmonic look is created, these details enhance the chair's elegance. We can do custom restoration and special reupholstering. Our atelier guarantees the excellence of Italy through the traditional art of craftsmanship. We do offer a dedicated customization service thanks to our team of expert craftsmen and artisans. Contact Modernab Gallery...

Carlo Scarpa walnut and black leather chairs mod. 1934/765 for Bernini, 1977. 765 is planned by Carlo Scarpa in 1934, year from which the chair will ta...

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...

Carlo Scarpa "Orseolo" black table for Simon, 1972. Table, polyester varnished with mirror polished finish, made for the assembly of thick, elementary geometric panels with satin-fi...

Carlo Scarpa (June 2, 1906 – November 28, 1978) was an influential Italian architect and designer deeply rooted in the rich cultural history of Venice. He began his career as an assi...

Iconic Italian table - Carlo Scarpa dining table - Marble Rare, desirable and perfectly preserved "Samo" dining table, designed in 1970 by Italian architect Carlo Scarpa for Simon...

Carlo Scarpa, Cornaro 140 armchair in ash wood, made for Gavina, Italy, 1973 This is one of the rarest and most fascinating versions of the famous sofa created by Carlo Scarpa, whic...

Table in black Carrara marble by Carlo Scarpa, with art shaped top glass, Italy circa 1970 in perfect and original conditions. Two different way to place the base. Dimensions: with t...

Born in Venice in 1906, Carlo Scarpa studied architecture at the city's Academy of Fine Arts, where he graduated in 1926. He taught architectural drawing at the Academy, where he hel...

Beautiful and rare bottle-shaped vase from the "shiny fabric" series in the color antique red born from the artistic creation of Carlo Scarpa. Hand-blown glass vase worked with two-t...

Carlo Scarpa, “Valmarana” table, 1971-72, in its original bleached Ash version. "Valmarana with its solid and essential design shows Scarpa’s passion for conceiving designs that add...

Bellissimo e raro vaso della serie "tessuto lucido" nel colore rosso antico nato dalla collaborazione artistica di Carlo Scarpa e Paolo Venini. Vaso in vetro soffiato lavorato a mano...

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

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...

Credenza disegnata da Carlo Scarpa e prodotta da Bernini a partire dal 1977 presenta quattro ante con elementi laterali a doppio cilindro. Arredo di grande qualità, è realizzato in l...

Large Quatour table with wooden structure and veneered wooden top. Original drawing by Carlo Scarpa. Prod. Gavina, Italy, 1974 cm 165x165x72 Further information Bibliography (edite...

The 1935 Series bookshelf was conceived by the master of Italian architecture, Carlo Scarpa, and was considered incredibly innovative in terms of both form and construction for its ...

Sarpi table designed by Carlo Scarpa for Simon Gavina with frame in brushed stainless steel, held together with visible recessed screws, Bologna, Italy, 19...

Kentucky is a chair born from the collaboration between Carlo Scarpa and the Bernini company. It exhibits apparent formal simplicity but actually conceals a highly articulated and de...

Set of 2 Cornaro two-seater sofas, designed by Carlo Scarpa and manufactured by Studio Simon in 1974. Made of Iroko wood, foam, and azure chenille velvet. Excellent vintage conditi...

It is sometimes said that great architects never graduated. According to the Italian architectural critic Luigi Prestinenza Puglisi; Mies van der Rohe, Wright and Le Corbusier are am...

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

Gritti table by Carlo Scarpa produced by Simon in 1976. A large table made with solid wood cylinders. Top covered in original cloth. Bibliography: Acca...

Carlo Scarpa, Cornaro 140 armchair in ash wood, made for Gavina, Italy, 1973 This is one of the rarest and most fascinating versions of the famous sofa created by Carlo Scarpa, whic...

Two vintage oak wood chairs by Carlo Scarpa for Gavina. Italy 1974. Excellent condition.

This Is a rare iconic set of 4 chairs design by Carlo Scarpa for Bernini, mod 1934-765. This chairs Born in 1970, and come up in original condition, without any restoration as in pho...

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...

Cornaro 300 sofa designed by Carlo Scarpa. Solid hardwood structure (iroko). Polyurethane padding. Upholstery in original chenille velvet. The one-uni...

Pair of Cornaro 140 armchairs designed by Carlo Scarpa. Solid hardwood structure (iroko). Polyurethane padding. Upholstery in original chenille velvet. The one-unit side and back cus...

Early and Large version Carlo Scarpa Quatour table for the Metamobile series by Simon Gavina, Italy 1974.

Extraordinary yet elegant oak wood chairs by Carlo Scarpa. Carlo Scarpa (2 June 1906 – 28 November 1978) was an Italian architect, influenced by the...

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...

Carlo Scarpa "Argo" oval table for Simon Gavina, Roman travertine, Italy, 1975. The "Argo" travertine console-table is part of the 'Ultrarazionale' ...

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...

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 in...

“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...

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...

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...

Valmanara table designed in 1971 by italian architect Carlo Scarpa for Simon International-Gavina. Oak wood with cerused varnish finish.

Mid-Century Modern oval travertine dining room table, model Argo. Designed in 1970 by Carlo Scarpa (1906-1978) for the "Ultrarazionale" collection, produced and sold by Cattelan Ital...

Oval travertine dining table by the Italian Architect Carlo Scarpa, designed during the 1970s. With its sculptural pedestal base and polished travertine table top this piece is Scarpa’s modern take on Classic architecture. A striking centrepiece in any space. The table separates...

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 ...

The Scarpa's way of thinking the architecture is particularly visible in this piece. The “Samo” dining table, designed in 1971 for 'Ultrarazionale' collection by Simon Gavina, consists of two grooved solid Granite pillars...

Stunning white Carrara marble dining table, model Samo, designed by Carlo Scarpa and Manufactured by Simon, Italy 1970s. It is an original design by the Italian designer / architec...

Console Model 'Valmarana' by Carlo Scarpa for Simon, ash and granite, Italy 1972.  

Very impressive pair of sconces by Venini circa 1990 Designed by Carlo scarpa circa 1940.

Italian mid-century White fabric and wood Cornaro armchair by Scarpa for Gavina, 1970s Cornaro armchair with black painted solid wood structure. The ...

Orseolo chest of drawers by Studio Simon with wheels. Structure, top and drawers in polyester varnished wood and glossy black finish. Four drawers o...