Franco Albini Furniture

Rare pair of "Colibrì" model table lamps, designed by the famous Italian architect and designer Franco Albini together with Franca Helg and Paolo Piva for Sirrah, Italy, 1983. This ...

Prices vary dependent on the material. In 1959, working with Franca Helg, his long-time assistant, Franco Albini designed Tre Pezzi, a contemporary restatem...

Large four-door sideboard designed by Franco Albini in the 1930s. The Art Deco sideboard is veneered on all sides and fitted with chrome half-moon handles and set off by means of ver...

Prices vary dependent on the model/finish of the table. Table designed by Franco Albini in 1954. Manufactured by Cassina in Italy. This table/writing desk, designed by Franco Albin...

Pair of Mid-Century modern Franco Albini round wicker ottomans, stools or side tables painted in off white. Manufactured by Vittorio Bonacina, Italy. Paint appears to be original, so...

Beautiful ceiling lamp designed by Franco Albini and Franca Helg in the 1950s for the fine Sirrah manufacture. Model AM4Z. The lamp by Franco Albini is made of totally chromed metal...

Beautiful ceiling lamp designed by Franco Albini and Franca Helg in the 1950s for the fine Sirrah manufacture. The lamp is made of totally chromed metal, the hat is a half sphere in...

Elegant chair model "47" with renewed high quality woolen fabric, designed by Franco Albini in 1949 and manufactured by Knoll international, Belgium. Very elegant and rational design...

Franco Albini ash dining table Model TL2 'Cavalletto' for Poggi, Italy (Very First Edition), Italy 1950s This table is the very first edition (the one in ash) of Franco Albini's fam...

Rare and important Italian Mid-Century Modern rattan and glass bar or serving cart by Franco Albini. The piece is unique in linking traditional materials (rattan, bamboo) with an ope...

In this listing you will find a Mid-Century Modern oval vintage rattan wall coat hook designed by Franco Albini (attr). The coat hook was designed and manufactured in Italy in 1960s. The rattan hooks...

Adjustable AM/AS ceiling light fixture by Franco Albini, Franca Helg and Antonio Piva for Sirrah. Beautiful opaline glass and chromed frame. Also a pendant lamp available from the sa...

Cicognino coffee table entirely made in teak wood designed by Franco Albini in 1952 and firstly produced by the Italian company, Poggi Pavia from the 1950s. The Cicognino coffee t...

Designed by Franco Albini and made by Knoll International.

AM-AS series Floor Lamp by Franco Albini and Franca Helg for Sirrah, 1969. Rare lamp combination of the chrome-plated steel with the handblown white glass shade. You can change the p...

Imposing floor lamp model "AM/AS" by Franco Albini, Franca Helg, Antonio Piva. Milky glass shades can be changed with their universal terminal.

Franco Albini oval bamboo and rattan wall mirror, Italy, 1950s. This chic and iconic Italian mid-century mirror is intricately hand-woven with bamboo and rattan, then stained and lac...

Franco Albini oval bamboo and rattan wall mirrors, Italy, 1950s. These chic and iconic Italian mid-century mirrors are intricately hand-woven with bamboo and rattan, then stained and...

A stunning and very large vintage Italian chrome table lamp by Franco Albini and Franca Helg. This was manufactured in Italy by Sirrah, it dates from the 1970’s. This is the very ra...

Suspension lamp, AM/AS series, designed by Franco Albini for Sirrah in 1969. Part of an extremely innovative modular system for its time, the AM/AS series includes floor, table and p...

Stunning large table lamp model 524 designed by duo Franco Albini and Franca Helg and manufactured by Arteluce, Italy 1963. This beautiful geometric table lamp is made of several lay...

Porte manteau Italien de Franco Albini datant des années 1960's Modèle mural en bambou et rotin composé de 2 patères En superbe état de conservation, cet article à été nettoyé par ...

Chandelier from the AM/AS series, modern and Italian, in chromed steel, designed by Franco Albini and Franca Helg for Sirrah, ca. 1960. Chandelier from the AM/AS series, with a bell ...

Red Rocking Chair Canapo by Franco Albini for Cassina, Italy

Table or desk lamp with structure and lampshade entirely realized in chromed steel, it as a part of the AM/AS series designed by the iconic duo Franco Albini and Franca Helg and manu...

Mid-Century Modern TL2 Cavalletto desk/dining table by Franco Albini for Poggi, 1950s

Franco Albini & Franca Helg. Dining table model no. TL22. Manufactured by Poggi, Italy, 1958. Mahogany. Measurements: 180.3 cm x 104.1 cm x 73 H cm. 70.98 in x 40.98 in x 28.74 in. Literature: Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 123. Franco Albini, was born in 1905 and died in 1977. He spent his childhood and part of his youth in Robbiate in Brianza, where he was born. Albini, as an adolescent moved with his family to Milan. Here he enrolled in the Faculty of Architecture of the Polytechnic and graduated in 1929. He started his professional activity in the studio of Gio Ponti and Emilio Lancia, with whom he collaborated for three years. At the 1929 International Exhibition in Barcelona (where Gio Ponti curated the Italian pavilion and Mies van der Rohe realized that of Germany) and in Paris where, as Franca Helg recounted, he had the opportunity to visit the studio by Le Corbusier. In those three years, the works he carried out are admittedly of the twentieth century imprint. It is the meeting with Edoardo Persico that marked a clear turning point towards rationalism and the approach to the group of editors of "Casabella". The partly ironic and partly very harsh comments of the Neapolitan critic to a series of drawings, made by Albini for the design of some office furniture, caused him a great disturbance. “I spent days of real anguish - Albini recalls - I had to answer all the questions. I also had a fever, a large and long fever. " The meted provoked Albini to openen a professional studio in via Panizza with Renato Camus and Giancarlo Palanti. The group of architects began to deal with public housing by participating in the competition for the Baracca district in San Siro in 1932 and then building the IFACP neighborhoods: Fabio Filzi (1936/38), Gabriele D'Annunzio and Ettore Ponti (1939). During this period, Albini also worked on his first villa (Pestarini), which Giuseppe Pagano, architect and critic of the time, presented as follows: “This coherence, which the superficial rhetoric of fashionable jugglers calls intransigence, and which is instead the basis of understood between the fantasy of art and the reality of the craft, in Franco Albini, it is so rooted that it transforms theory into a moral attitude ". But it is above all in the context of the exhibitions that the Milanese master experienced his compromise between that "rigor and poetic fantasy" of which Pagano speaks, coining the elements that became a recurring theme in his . The opening in 1933 of the new Triennale headquarters in Milan, in the Palazzo dell'Arte, was an important opportunity to express the strong innovative character of rationalist thinking, a gym in which to freely experiment with new materials and new solutions, but above all a "method". "Cultivated as a communication laboratory, the art of setting up was for the rationalists of the first generation what the perspective had been for the architects of humanism: the field open to a hypothesis of space that needed profound reflections before landing the concreteness of the construction site ". Together with Giancarlo Palanti, Albini on the occasion of the V Triennale di Milano set up the steel structure house (with R. Camus, G. Mazzoleni, G. Minoletti and with the coordination of G. Pagano), for which he also designed the 'furniture. At the following Triennale of 1936, Persico dided, together with a group of young designers gathered by Pagano in the previous edition of 1933, Franco Albini took care of the preparations of the home exhibition. The setting up of Stanza per un uomo, at that same Triennale, allows us to understand the acute and ironic approach of Albini, as a man and as a designer: "Celebrating the beauty of mechanics was the imperative to which, for example, the surprising displays by Franco Albini who managed, in the subtle way of a refined and rarefied style, to sublimate their practical content in the metaphysics of daring still lifes: flying objects which marked in the void refined frames and metal intricacies the nodes of a fantastic cartography where industry finally became art free from purpose ". That same year Albini and Romano designed the exhibition of the Ancient Italian Goldsmithery: vertical uprights, simple linear rods, designed the space. A theme, of the "flagpole", seemed to be the center of the evolution of production and the creative process. The concept is reworked over time, with the technique of decomposition and recomposition typical of Albinian design: in the preparation of the Scipione Exhibition and contemporary drawings (1941) the tapered flagpoles, on which the paintings and display cases were hung, are supported by a grid of steel cables; in the Vanzetti stand (1942) they take the V-shape; in the Olivetti shop in Paris (1956) the polished mahogany uprights support the shelves for the display of typewriters and calculators. The flagpole is found, however, also in other areas. In the apartments he designed, it is used as a pivot on which the paintings can be suspended and rotated to allow different points of view, but at the same time as an element capable of dividing the spaces. The Veliero bookcase...

Table lamp model “524” Made in collaboration with Franca Helg Manufactured by Arteluce Italy, 1952 Openwork Perspex in a chrome frame Measurements 41 Ø cm x 47h cm. 16,14 Ø in x 18,5...

TL30 table with a round top in wood and a base in black lacquered metal, designed by Franco Albini and produced by Poggi in the 1950s. After spending his childhood and part of his youth in Robbiate in Brianza, where he was born in 1905, Franco Albini moved with his family to Milan. Here he enrolled in the Faculty of Architecture of the Polytechnic and graduated in 1929. He starts his professional activity in the studio of Gio Ponti and Emilio Lancia, with whom he collaborates for three years. He probably had his first international contacts here In those three years, the works carried out are admittedly of a twentieth-century imprint. It was the meeting with Edoardo Persico that marked a clear turning point towards rationalism and the rapprochement with the group of editors of “Casabella”. The new phase that that meeting provoked starts with the opening of the first professional studio in via Panizza with Renato Camus and Giancarlo Palanti. The group of architects began to deal with public housing by participating in the competition for the Baracca neighborhood in San Siro in 1932 and then creating the Ifacp neighborhoods: Fabio Filzi (1936/38), Gabriele D’Annunzio and Ettore Ponti (1939). Also in those years Albini worked on his first villa Pestarini. But it is above all in the context of the exhibitions that the Milanese master experiments his compromise between that “rigor and poetic fantasy” coining the elements that will be a recurring theme in all the declinations of his work – architecture, interiors, design pieces . The opening in 1933 of the new headquarters of the Triennale in Milan, in the Palazzo dell’Arte, becomes an important opportunity to express the strong innovative character of rationalist thought, a gym in which to freely experiment with new materials and new solutions, but above all a “method”. Together with Giancarlo Palanti, Albini on the occasion of the V Triennale di Milano sets up the steel structure house, for which he also designs the ‘furniture. At the subsequent Triennale of 1936, marked by the untimely death of Persico, together with a group of young designers gathered by Pagano in the previous edition of 1933, Franco Albini takes care of the preparation of the exhibition of the house, in which the furniture of three types of accommodation. The staging of Stanza per un uomo, at that same Triennale, allows us to understand the acute and ironic approach that is part of Albini, as a man and as a designer: the theme addressed is that of the existenzminimum and the reference of the project is to the fascist myth of the athletic and sporty man, but it is also a way to reflect on low-cost housing, the reduction of surfaces to a minimum and respect for the way of living. In that same year Albini and Romano designed the Ancient Italian Goldsmith’s Exhibition: vertical uprights, simple linear rods, design the space. A theme, that of the “flagpole”, which seems to be the center of the evolution of his production and creative process. The concept is reworked over time, with the technique of decomposition and recomposition typical of Albinian planning: in the setting up of the Scipio Exhibition and of contemporary drawings (1941) the tapered flagpoles, on which the paintings and display cases are hung, are supported by a grid of steel cables; in the Vanzetti stand (1942) they take on the V shape; in the Olivetti store in Paris (1956) the uprights in polished mahogany support the shelves for displaying typewriters and calculators. The reflection on this theme arises from the desire to interpret the architectural space, to read it through the use of a grid, to introduce the third dimension, the vertical one, while maintaining a sense of lightness and transparency. The flagpole is found, however, also in areas other than the exhibition ones. In the apartments he designed, it is used as a pivot on which the paintings can be suspended and rotated to allow different points of view, but at the same time as an element capable of dividing spaces. The Veliero bookcase...