PrimoPiano Modern

An elegant wall-mounted cabinet in veneered walnut with a white lacquered front and an inset round mirror. Above the mirror there is a barometer, while below it there is a drawer wit...

Rocchettone side table realized in lacquered walnut wood with bright orange decorations (under the table top and on the base), it was designed by Ettore Sottsass and manufactured by ...

Gio Ponti large sideboard in wood with two sliding doors in glass, Italian manufacture from the 1950s. The sideboard comes with the Gio Ponti archives certificate. Gio Ponti (Milan...

Rocchettone side table realized in lacquered walnut wood with bright orange decorations (under the table top and on the base), it was designed by Ettore Sottsass and manufactured by ...

Rocchettone side table realized in lacquered walnut wood with bright orange decorations (under the table top and on the base), it was designed by Ettore Sottsass and manufactured by ...

Table lamp with structure and lampshade entirely realized in chromed steel, from the AM/AS series designed by the iconic duo Franco Albini and Franca Helg and manufactured by Sirrah ...

A rectangular low coffee table entirely made in wood, designed by Ettore Sottsass for Poltronova, Agliana 1960s. The son of an architect, Ettore Sottsass Jr. (1917-2007) was born i...

Vase mod. Y15 from the Yantra series in black enameled ceramic, designed by Ettore Sottsass and produced by Poltronova in the 1970s. Autor's signature and model are visible undernea...

A vase from the stepped series in hand-turned in white clay enameled with two-tone matt gray and light green glaze, manufactured in the 1990s by Bitossi and designed by Ettore Sottsa...

Tripolina folding chair presents a wooden frame with metal fixing and a beautiful removable seat realized in high-quality leather. This iconic ...

Large table or desk with structure in oak wood, tabletop in red laminate and brass details. Designe by Gio Ponti for Banca Nazionale del Lavoro, Italian manufacture from the 1950s. ...

Set of two dining chairs model Ariston with structure in curved plywood and black lacquered metal legs. The Ariston chair was designed by Augusto Bozzi and manufactured by Saporiti ...

A pair of Minikini table lamps in white-cream enameled metal and in black enameled metal. The Minikini is a lamp with a clean and refined design, highly versatile, and also with an ...

Sofa model Shark with a structure in chromed metal, wood, chromed backrest, and ground support, padding in polyurethane foam covered with dark brown fabric. Designed by Francesco Bi...

Set of six 4875 chairs (also known as Bartoli) designed by Carlo Bartoli in 1974 and produced by Kartell. The chairs are made of polypropylene, a very resistant and lightweight plas...

A set of two Montecarlo (T12) side tables with a simple and elegant brass structure and tabletops in crystal, they are the perfect companion for any seats, beds, or desks. The brass...

Locus Solus set is composed of four chairs with a structure in tubular steel a seat in padded leather and a table with a frame in tubular steel and a glass table top. The Locus Sol...

Set of two stools in bamboo and rattan, attributed to Franco Albini and produced in Italy in the 1960s. He was a major figure in the Rationalist Movement, excelling in architectural...

Mid-century modern Mitzi armchair with a black ebonized wooden structure, seat, and, back upholstered with a bright red velvet. Designed by the Italian designer Ezio Longhi for E...

Beautiful decorative dish in polychrome ceramic, with an irregular shape.   

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...

Il Sole enameled copper original idea by Gio Ponti produced in 1956 by Paolo de Poli, Padova. With signature, date, and original label on the back. Lictera...

Decorative dish in polychromed ceramic.

Set of four dining chairs with a frame in black lacquered metal and seat in curved plywood, attributed to Carlo Ratti and produced by Società Compensati Curvati in the 1950s. In Italy, at the beginning of the XX century, industries of curved solid wood arose under license of Michael Thonet, and through the International Exhibitions the processing of curved wood became more and more widespread. The Expo of the first decade was also attended by the wood manufacturers of Monza, while in 1905 Otto Helzer, in Switzerland, patented wooden structures in curved laminated, whose strength was equivalent to those in steel. The Ratti brothers of Monza took their cue from the solid wood laminate to create furniture that, instead of wooden elements, used sheets of wood. The brothers Ratti, Carlo and Mario, also began to follow the young artistic avant-gardes (cubism, futurism and abstractionism). The mastery of wooden sculpture influenced Carlo in the design and realization of furniture of fine neo-plastic artistic workmanship and decò, receiving honors from the Prince of Piedmont Umberto di Savoia. In 1919, in Milan, the first Lombard Exhibition of Decorative Arts was set up (later to become the Triennale) and the Ratti brothers exhibited their furniture in solid wood but also in curved panel with a new system of curvature, the one in Telo. The canvas system was developed by the Ratti brothers with the help of a friend, Cesare Cantù. They developed an elastomer bag in which the mould was inserted with the panel to be bent and, closing it with clamps, the air inside was removed, thus making the panel adhere to the mould. Carlo and Mario found in the Telo system a means by which they could make objects and furniture in the three spatial directions with large surface curvatures, without limits of thickness and minimum radii of curvature. In 1921 in Stuttgart the first Salone del Mobile was inaugurated and the Fratelli Ratti of Monza made itself known internationally by presenting solid wood furniture and also furniture in load-bearing plywood, flanked by furniture with framed and interchangeable covers. The Expo became meeting places to verify and present the novelties in the furniture and industrialization sector and, with the development of Industrial Design, the first architects joined in the design of the furniture industries. The Ratti Brothers, in the various international and national exhibitions, also presented incredible objects in their realization with the system in Telo. After 1930 Carlo and Mario produced many containers for radio and folding chairs for cinema but in 1939 they divided and in Monza Mario remained who, with his sons Antonio and Angela, formed the Società Compensati Curvi...

Table lamp with structure in brass, and lampshade in red-painted aluminum designed by Angelo Lelii, Italian Manufacture 1950s. Licterature: Domus n.288, November 1953, p. 35; C. & P. Fiell, 1000 lights 1878 to 1959, Taschren, Koln, 2005, p. 489 A. Pansera, A. Padoan, A. Palmaghini, Arredoluce catalogue 1943-1987, Silvana Editoriale, Cinisello Balsamo, 2018, p. 281 Paolo Angelo Lelii was born in 1915 in Ancona but very soon he moved with his family to Milan, and some time later he moved to Monza with his wife, where he began manufacturing lamps in his house in 1943 and that in 1946 he advertised his Tris lamp at the Domus magazine. It was in 1947 that he founded Arredoluce, a premier manufacturer of furniture and lighting, in Monza. During the same year, at the VIII Triennale di Milano, he exhibited the lamp 12128, which became known as the Triennale floor lamp. He became an influential designer in postwar Italy, especially in the field of modern lighting design. During the 1950s, Arredoluce started to collaborate with such designers as Franco Albini, Achille Castiglioni, Gio Ponti, Ettore Sottsass, and Nanda Vigo and also began to experiment with halogen light bulbs for its designs. Out of this experimentation, Lelii increased the use of transformers for his designs and created the recognizable floor switch used in most of Arredoluce’s floor lamps. Angelo Lelii’s lamps and lighting objects stand out for their extremely simple designs that strive for minimal complexity and for their strong sense of unadorned sensitivity. Thanks to Angelo Lelii’s unique approach to lighting design, Arredoluce quickly built a reputation for creating premium quality lights based on clean, simple, and functional designs. The most well-known designs of Angelo Lelii are the Triennale floor lamp model 12128 (1947) and the Cobra table lamp (1964), which became famous for its unique shape and for the low voltage used by incorporating the transformer in its base. His other iconic lights are the Tris lamp (1946), the Eye floor light (1950), the Stella ceiling light...

A golden porcelain bottle with the application of hand-modeled white flowers in relief this beautiful piece was designed by the Italian master Gio Ponti and manufactured by Richard Ginori Pittoria di Doccia between 1923 and 1938. This porcelain bottle was originally presented at the 1935 Paris exhibition L'art italien des XIX et XX siècles. The manufacturer brand 'Richard Ginori Pittoria di Doccia' is visible under the base. The design of this piece was documented in the Gio Ponti catalog shaped in close collaboration with the Gio Ponti Archives and its founder Salvatore Licitra, edited by Taschen. The history of the Ginori Manufactory began in Doccia, just a stone's throw away from Florence, when in 1735 Marquis Carlo Andrea Ginori started a porcelain factory which was destined to become a worldwide icon of style. The eighteenth-century is a key century for the development of porcelain in Europe, in this period the first manufactures are born, fed by new styles and international trends. In stately homes, palaces and courtyards, the precious porcelain of the Doccia Manufactory is synonymous with elegance and refinement. The passage from the nineteenth, the century of reason to that of feeling marks a new chapter in the development of artistic taste and the manufacture of porcelain. Florence becomes the scene of a controversy between the academic supporters of the Beautiful ideal and the naturalists promulgators of the beautiful natural Since 1806 the direction of the Manifattura passed to Leopoldo Carlo Ginori Lisci who initiates a process of profound renewal. In 1986 The Manifattura expanded and the Richard Ginori Ceramic Company is born. The tradition of master craftsmen meets new technologies and the creations are perfected thanks to the use of new patents From 1923 to 1933 the artistic direction of the Manifattura was entrusted to Gio Ponti. The master is responsible for introducing highly innovative elements with sensitivity and respect for the taste for the ancient, and for the oriental culture. In 1925 at the Universal Exposition in Paris, the Manifattura and its artistic director were awarded the assignment to both of a Grand Prix. The Manufactory was renewed by relying on the experience of the greatest Italian designers of the time: Franco Albini, Franca Helg, Antonio Piva, Sergio Asti, Achille Castiglioni, Gabriele Devecchi, Candido Fior...

Ceiling or Hanging lamp from the 'Membrane' series, designed by Toni Zuccheri and created between 1966 and 1968 by the famous Italian company Venini. The lamp presents a round sha...

Set of two cabinets with suede clad panels, each panel is surrounded by a chromed steel frame and presents metal ring shape handles on the frontal ...

Toga chair was realized in hot-press moulded black fibreglass designed by Sergio Mazza in 1968 and manufactured by Artemide, Italy. The Toga chair is pa...

Round pedestal dining table model UFO with a base in brushed steel and tabletop in thick glass with a black enamel decorative circle. Designed by Luigi Saccardo and manufactured by Maison Jansen in the 1970s. Maison Jansen was a Paris-based interior decoration office founded in 1880 by Dutch-born Jean-Henri Jansen. From its beginnings, Maison Jansen combined traditional furnishings with influences of new trends including Anglo-Japanese style, the Arts and Crafts movement, and Turkish style. The firm paid great attention to historical research with which it attempted to balance clients' desires for livable, usable, and often dramatic space. Within ten years the firm had become a major purchaser of European antiques, and by 1890 had established an antique gallery as a separate firm that acquired and sold antiques to Jansen's clients and its competitors as well. In the early 1920s Jean-Henri Jansen approached Stéphane Boudin, who was then working in the textile trimming business owned by his father and brought him on board. Accounts of the arrangement vary. Speculation existed that Boudin was able to provide financial solvency to the prominent but capital-poor atelier. Boudin's attention to detail, concern for historical accuracy, and ability to create dramatic and memorable spaces brought increasing new work to the firm. Boudin was made director and presided over an expansion of the firm's offices and income. Not originally equipped with its own workrooms for producing furniture the firm began by relying upon antiques and the furniture contracted to outside cabinetmakers. By the early 1890s Maison Jansen had established its own manufacturing capacity producing furniture of contemporary design, as well as reproductions, primarily in the Louis XIV, Louis XVI, Directoire, and Empire styles. Throughout the firm's history, it employed a traditional style drawing upon European design, but influence of contemporary trends including the Vienna Secession, Modernism, and Art Deco has also appeared in Jansen interiors and in much of the custom furniture the firm produced between 1920 and 1950. Under Boudin's leadership, Maison Jansen provided services to the royal families of Belgium, Iran, and Serbia; Elsie de Wolfe, and Lady Olive Baillie's Leeds Castle...

Ara table or desk lamp in polished chrome provides direct illumination. The head adjusts to direct lighting at a 90-degree angle. Designed by Philippe Starck in 1988 for Flos. Measurements: Height: 55 – 56.5 cm Lampshade: 27.5 cm Base: Ø 17.5 cm Philippe Starck was born in Paris, France in 1949. He is the son of André Starck, an aeronautical engineer and founder of Avions André Starck (airplane designer) and Jacqueline Lanourisse. Philippe Starck began his schooling at the Notre-Dame de Sainte-Croix institution in Neuilly-sur-Seine, a suburb of Paris. He then studied at the Camondo school in Paris, under the leadership of Henry Malvaux. Starck designed an inflatable structure in 1969, initiating a reflection on materiality, and showed an interest in places to live. Shortly after, Pierre Cardin offered him the post of artistic director of his publishing house. At the same time, he founded his first Industrial Design agency, Starck Product. He renamed it into Ubik6 in reference to the famous novel by Philip Kindred Dick. He began his collaborations with Alessi, Aprilia, Disform, Driade, Drimmer, Fossil, Kartell and Vitra. Philippe Starck has designed several hotels around the globe and also Steve Jobs‘s yacht, Venus. In the 1980s a long and exclusive collaboration with Flos begins, which sheds light on a series of international successes also called cult objects such as this ARA’ table lamp, the Miss Sissi table lamp (1991), the Rosy Angelis...

Living room set composed of two armchairs and a footrest with a structure in metal and padded fabric, designed by Anna and Carlo Bartoli and produced by Rossi di Albizzate, in the 19...

A rare Mid-Century Modern table or desk lamp with a stem in metal, a base, and a lampshade in red lacquered metal. Manufactured in Italy during the 1950s. .

Large format softcover in brown paper printed dustwrapper. Facendo mobili con Archizoom, Asti, Aulenti, Ceroli, De Pas d'Urbino Lomazzi, Ernst, Fini, Mangiarotti, Marotta, Mendini, Michelucci, Nespolo, Portoghesi, Ruffi, Sottsass, Superstudio, Vignelli. Profusely illustrated with more than 500 images (photographs and drawings). Text in Italian. Poltronova, printed by Artigraf - Firenze in 1996 (texts by Pier Carlo Santini) Profusely illustrated with more than 500 images (photographs and drawings). Text in Italian, 21 x 30 cm, 180 pages. Santini was born in Lucca on 20 April 1924. After the interval of the war, he attended the Faculty of Letters of the University of Pisa graduating in 1951 under the guidance of Carlo Ludovico Raggianti, with a thesis on Giambologna, worthy of praise and the dignity of publication. From 1952 to 1957 he was editor of "SeleArte", a bimonthly training and information of the artistic disciplines, commissioned by Ragghianti and published by Adriano Olivetti. In 1957 he moved to Milan, to the editorial office of "Comunità" to assume the responsibility of the architecture section. In this period he conceived and produced the first monographs of living architects: Moretti, Figini...

Desk lamp model 665 or Zeta in white lacquered and chromed metal. It presents a double arm formed by two metal rods anchored to the rectangular base, and an adjustable diffuser in white lacquered aluminium that it's rotatable at 360° The lamp was produced by the Italian company Martinelli...

Set of six dining chairs with backs and seats realized in curved veneered plywood and legs in black lacquered metal, designed by Carlo Ratti and manufactured by Industria Legni Curva...

Coupè floor lamp with a structure in white lacquered metal, designed by Joe Colombo and manufactured by Oluce in 1967, circa Italy. Measures: Height: 175 cm Width: 140 cm Lampshade diameter 40 cm Lamp base 30 x 32 cm Joe Colombo born Cesare Colombo, was an important Italian designer, architect and artist. Renowned for his embrace of modern technologies and for the potential he saw in modular furniture and designs, Colombo created a body of furnishings that spoke to the energy and excitement over the potential of the Space Age. Colombo was born and raised in Milan. Joe first in a first time decided to pursue an artistic career by enrolling in Milan’s Accademia di Belle Arti di Brera. But after a couple of years at the Accademia, he transferred to Politecnico di Milano, where he studied architecture and graduated in 1954. During his studies at the Accademia, he befriended artists Sergio Dangelo and Enrico Baj, who had been influential in the creation of the avant-garde Movimento Nucleare, a group whose aim was to transform the art of painting in response to the tensions of the modern nuclear age. Until 1958, Colombo worked mainly as an Abstract Expressionist painter and sculptor and thrived on the Movimiento Nucleare group’s energy and intensity, which fueled in his work a fascination with an almost futurist aesthetic. In 1959, Joe Colombo’s father died, and he decided to run the family electrical appliance business while experimenting with new manufacturing methods and materials. This new and unexpected experience influenced him to switch from painting to architecture and design, where his fascination with futuristic themes not only remained intact but found a new invigorating venue. In fact, one of his first design projects was a series of installation works made from television sets that were assembled in the form of shrines; the work was exhibited at the 1954 Triennale di Milano. Colombo decided to open his own design studio in Milan in 1962, entering the busiest phase of his career as he designed furniture, lighting, interiors, and glassware. Also in 1962, Joe and his brother Gianni designed for Oluce the Acrilica lamp...

Cutlery silver set for twelve in nickel silver or German silver, this set includes a total of 36 pieces; 12 spoons, 12 forks, and 12 knives with a steel blade. Set designed by Gio ...

Tan France Pick Cutlery silver service for six in nickel silver or German silver, this set includes a total of 18 pieces; 6 spoons, 6 forks, and 6 knives with a steel blade. Set d...

Occasional table with structure in wood with a removable center part in sheet metal and a rectangular shaped table top, designe by Gio Ponti and produced by Figli di Amedeo Cassina...

Cabinet with two doors, inner shelves, and drawers from the Afrorismi series, it's made in gray metalized and grooved laminate, with legs and upper support in chromed metal, and over...

Set of two wall lamps model 238/2 with supports in white painted metal, lampshades in blown glass and white enameled aluminum, designed by Gino Sarfatti and produced by Arteluce duri...

Chandelier with three lampshades in opaline glass and a structure in enameled and nickel-plated metal. Manufactured by Stilnovo in 1970s Italy. Stilnovo was an important lighting c...

Mid-Century Modern ceiling lamp with five lampshades in chromed metal and lucite plexiglass. Designed by Gaetano Missaglia and manufactured in Italy during the 1970s. Acrylic, also known as the brand names lucite or Plexiglas, was developed in the 1930s. Its scientific name is Poly(methyl methacrylate), or PMMA, and it is a type of thermoplastic, which is a plastic Material that is moldable at extremely hot temperatures and solid once cool. The company that created acrylic licensed it in two ways; first as Plexiglas to be a glass replacement, and afterwards as lucite for commercial uses in 1937. Commercially, lucite was used in jewelry, handbags, and cosmetics packaging. Plexiglas, in comparison, was often used for larger projects, such as aircraft windows, lenses for lighthouses, and aquariums. Before it was used widespread for furniture, acrylic was being utilized for military purposes, as wartime was quickly approaching. During World War 2 (1939-1945), the country’s resources were mostly directed to military uses, and acrylic was no different. Acrylic, as Plexiglas, was used to help the military, including as airplane windshields and submarine periscopes. Despite that, some people began using acrylic to make furniture. In 1939, Helena Rubinstein, a wildly successful cosmetics mogul and art collector, commissioned to Ladislas Medgyesan an entire suite of acrylic furnishings for her NYC apartment, including an illuminated acrylic bed in her bedroom and acrylic chairs for business meetings. When the war ended in 1945, acrylic was ready to be worked with in design on a larger scale. The company licensed lucite widely, making it much more available across every industry. It steadily gained momentum in the world of design, with artists and designers being inspired by its moldability and translucense. In 1959, French designer Erwine Laverne told a New York Times reporter, “The most important element in rooms is people, not furniture,” speaking to the growing popularity and importance of the clear furniture. But acrylic furniture hit its peak popularity in the 1960s and ‘70s, as more acrylic furniture designers and artists entered the scene. Glass artists began to take more of an interest in acrylics, especially taking advantage of acrylic’s flexibility, light weight, cost, and capacity to refract and filter light. Designers like John Mascheroni and Charles Hollis Jones, known as the Godfather of lucite, created iconic pieces that still look beautiful in today’s modern home. Designers and artists alike loved the durability and look of acrylic. As Charles Hollis Jones put in an interview with Ravelin Magazine, “I worked a lot with lucite when I first started. When I worked with the company that wanted me to go to Europe, they had me work with glass, ceramic, enamel. I went over there and the glass was always in the wrong color and it always broke. When the earthquakes came, I got visual proof of that. I like to work with acrylic because it does two wonderful things that glass doesn’t. It’s shatter-proof, first of all. I can also change the microstructure and make it one-tenth the strength of steel. And the most important thing it does: it carries light. Glass reflects light. lucite holds it and carries it. If you play with it, you can make a lens to look at something in space. It’s that good. It’s purer than crystal.” In fact, acrylic was often used in chandeliers as well, mixed with other materials to make incredible striking designs that would have been much more difficult to achieve with glass. Recently, acrylic furniture has once again risen in popularity. While many of the designs are timeless, more designers are coming forward with acrylic furniture for the modern home. In 2002, designer Philippe Starck introduced his Louis Ghost Chair, and the trend has only grown from there. You’ll now find entirely acrylic pieces of home furnishings and accessories, as well as acrylic-detailed furniture all across the market. With so many designs, options, and knock-offs all across the market, we at clear home design...

Round dining table with a base in chromed tubular steel and smoked glass on top, designed by Giotto Stoppino, Italian Manufacture from the 1970s. This table can used as a dining tab...

Table Lamp in red lacquered stainless steel produced by Studio Set in 1970s Italy.

Platone folding table or desk with structure in chromed steel and die-cast aluminum, table top in black ABS. Designed by Giancarlo Piretti and produced b...

Set of three Maia stackable chairs with a frame in tubular steel and seat in black ABS, designed by Giotto Stoppino and produced by Bernini in the 1970s. The Maia chair presents a s...

Coupè or 3320R arched floor lamp with semispherical lampshade in withe lacquered aluminum, stem in chromed metal and base in white lacquered aluminum. Designed by Joe Colombo and ma...

Lesbo table lamp with a polished metal base with a diffuser made of a single hand blown Murano glass element. The beautiful shape of the diffuser and the peculiar white-transparent s...

Set of three Alky chairs with a structure in aluminum covered with dark brown velvet and chromed metal feet. Designed by Giancarlo Piretti in the 1970s for Anonima Castelli. The man...

Set of three nesting tables with structure in steel, feet, and table tops in resin, designed by Gaetano Pesce and produced by Fish Design in 1999. Dimensions: Blue; H38,5 x 40 x 40 cm Red; H30 x 40 x 40 cm Yellow; H23 x 40 x 40 cm Gaetano Pesce is a prominent contemporary Italian designer and architect known for his bold experimentation with materials and color. Throughout his career, he has collaborated with some of Italy's leading design companies, including Artemide, Vitra, Cassina, and B&B Italia. Born in 1939 in La Spezia, near Genoa, Pesce enrolled at the University of Venice in 1959 to study architecture and graduated in 1965. During the final years of his studies, he also participated in courses at the Venice College of Industrial Design, where he was influenced by distinguished faculty members like Ernesto Nathan Rogers and Mario Bellini. Encouraged by their teachings to embrace innovation in modern design, Pesce became involved with an avant-garde architectural collective called “Gruppo N,” which drew inspiration from the streamlined aesthetics of the Bauhaus. These diverse inspirations equipped Pesce to embrace contemporary materials and explore the forms they enabled. His designs range from small decorative objects to large architectural spaces and reflect deep contemplation of the modern era. Notable works include his iconic La Mamma chair...

Atollo table lamp in white lacquered metal, designed by Vico Magistretti in 1977 and produced by Oluce. Source bulb: 2 x max 100 W E27 - universal dimmer Atollo has emerged as the...

MB15 large sideboard with four-door panels in wood, designed by Franco Albini in 1956 and produced by Poggi, Pavia. The MB15 sideboard showcases a clean and solid design characteriz...

Mojo vase in polyurethane foam painted with elastic resins, designed and manufactured by Gianni Osgnach in 1997. With the author's signature and date under the base

Cornaro living room set is composed of a two-seater sofa with two armchairs, a frame in lacquered wood seat, and a back in padded fabric, with leather ties. Designed by Carlo Scarpa...

Set of six cups in silver alpaca designed by Gio Ponti for Fratelli Calderoni, 1950s. Manufacturer's brand stamped on the bottom. Sizes 4 x 9 cm each.

A set of three vases in blue enameled ceramic, designed by Angelo Mangiarotti and produced by Fratelli Brambilla in the 1960s. The vases can be used singularly or as a beautiful com...

Set of eight chairs model Cobra with chromed tubular steel structure and seat in black padded leather, designed by Giotto Stoppino, in the 1970s. This set perfectly fits with our Gi...

Blitz table lamp in green lacquered metal was designed by Trabucchi, Vecchi, and Volpi and produced by Stilnovo in the 1970s. The manufacturer's label and stamped logo is present on...