Studio Balestra

High round stool by Pierre Jeanneret from the Chandigarh furniture program, circa 1960s, presented with a contemporary dark shearling seat. Its circular upholstered top stands above ...

Square teak table by Pierre Jeanneret, model PJ-TA-04-A, from the Chandigarh furniture program, circa 1959–1960. The broad square top and four straight timber legs create a compact, ...

Double-sided teak file rack by Pierre Jeanneret, model PJ-R-27-A, from the Chandigarh furniture program, circa 1960. A low rectangular case is divided into six open compartments, cre...

Low teak daybed by Pierre Jeanneret from the Chandigarh furniture program, circa 1957–1958, presented with contemporary green mohair upholstery and a matching cylindrical bolster. The long, narrow platform rests on open compass-form timber supports. Jeanneret’s furniture formed part of the larger architectural project of Chandigarh, the new city developed in post-independence India. Alongside desks, chairs and storage furniture, his daybeds addressed the quieter activities of rest and informal seating. Their generous horizontal surfaces were supported by a practical timber framework made with local craftsmen. The design gives an everyday furnishing the clarity of a small architectural structure, with its proportions, visible joints and open spaces establishing a close relationship between useful construction and sculptural form. At each end, the inclined legs spread outward beneath the rectangular seat rail. A low stretcher links the two ends, leaving the space below the platform open and emphasizing the daybed’s elongated silhouette. The soft mohair surface introduces a rich green tone against the brown teak without concealing the angular structure. Surviving paint on the side rail reads “CCS HAU/B. Hostel,” followed by inventory numerals. CCS HAU identifies Chaudhary Charan Singh Haryana Agricultural University in Hisar, Haryana; the hostel designation records an association with its residential inventory. The university adopted the Chaudhary Charan Singh name in 1991, so this wording represents a later chapter in the frame’s institutional life rather than the date of its design. The vintage teak retains variations in grain, color and surface wear, with softened edges and individual traces of use visible in the photographs. These details give the woodwork its material character and preserve the sense of a furnishing made for daily life in institutional or residential interiors. The present upholstery is a later treatment of the vintage structure. For a related Chandigarh daybed...

Upholstered teak dining chairs by Pierre Jeanneret from the Chandigarh furniture program, circa 1958–1959, presented in camel-colored hair-on-hide. The compact, armless form combines...

Monumental teak library table by Pierre Jeanneret from the Chandigarh furniture program, circa mid-twentieth century. A long rectangular top rests on two broad, solid timber supports...

Round low table by Pierre Jeanneret, model PJ-TB-04-A, from the Chandigarh furniture program, circa 1965. The circular teak top is supported by three cylindrical legs, producing a co...

Low teak and cane lounge chairs by Pierre Jeanneret from the Chandigarh furniture program, circa 1950s–1960s. The broad woven seats, inclined rectangular backs and continuous timber ...

Upholstered dining chairs by Pierre Jeanneret from the Chandigarh furniture program, circa 1958–1959, presented in contemporary camel hair-on-hide. The armless teak frames combine rectangular backs, compact seats and splayed compass supports. Jeanneret developed furniture alongside the architecture of Chandigarh, the new city created in post-independence India. Seating was an essential part of its offices, educational establishments and residential interiors. His designs brought modernist composition into direct contact with local woodworking: substantial timber members, economical joints and repeated forms gave ordinary furnishings a distinct architectural presence. The resulting furniture was made to be used, and its character emerges from the way a relatively small number of structural elements organize the body, the supporting frame and the spaces between them. The back uprights continue down to the rear seat rail, leaving an open band beneath the upholstered back. Broad diagonal leg members provide the characteristic A-shaped side profile, while the padded seat projects above them. The light covering contrasts with the darker teak and its visible grain. The photographed rear rail reads “PGGC (Nutrition)” with “210/3” below. PGGC is consistent with a Post Graduate Government College designation, and “Nutrition” identifies a departmental context. The code preserves a particular inventory history on the woodwork itself, connecting the marked chair to everyday educational use. The numerals are retained as part of the inscription rather than used to assign a room or building. The vintage teak retains variations in grain, color and surface wear, with softened edges and individual traces of use visible in the photographs. These details give the woodwork its material character and preserve the sense of a furnishing made for daily life in institutional or residential interiors. The present upholstery is a later treatment of the vintage structure. For related upholstered Chandigarh dining chairs...

High cane stool by Pierre Jeanneret from the Chandigarh furniture program, circa 1960s. A round woven seat rests on three slender teak legs linked by wood...

Tall teak periodical rack by Pierre Jeanneret from the Chandigarh furniture program, circa 1961. Twenty compartments, arranged in four columns and five rows, give the bibliotheque a ...

Round teak stools with iron stretchers by Pierre Jeanneret, model PJ-SI-22-A, from the Chandigarh furniture program, circa 1965–1966. Three tapered legs support a solid circular seat...

Double-X lounge armchairs by Pierre Jeanneret from the Chandigarh furniture program, circa 1950s–1960s, presented in contemporary dark hair-on-hide. Crossed teak members form the exp...

Upholstered easy armchair by Pierre Jeanneret from the Chandigarh furniture program, circa 1955–1956, presented in contemporary camel alpaca. A broad padded seat, inclined back and s...

Demountable webbed daybed by Pierre Jeanneret from the Chandigarh furniture program, circa 1955–1956. The vintage teak frame combines a long reclining platform with a cane back at one end and contemporary green shearling padding with a matching bolster. Jeanneret’s furniture formed part of the larger architectural project of Chandigarh, the new city developed in post-independence India. Alongside desks, chairs and storage furniture, his daybeds addressed the quieter activities of rest and informal seating. Their generous horizontal surfaces were supported by a practical timber framework made with local craftsmen. The design gives an everyday furnishing the clarity of a small architectural structure, with its proportions, visible joints and open spaces establishing a close relationship between useful construction and sculptural form. The exposed support webbing runs around the timber rails beneath the removable pad. Broad tapered uprights at the head carry the rectangular cane back, while visible bolts articulate the demountable construction. The open frame allows the webbed support, timber joints and generous space beneath the platform to remain clearly legible. The cane back forms a light vertical screen above the upholstered plane. Its grid contrasts with the dense texture of the shearling and with the solid wooden members around it. The cylindrical bolster rests against this back, adding a rounded profile to the otherwise rectilinear structure. The sizeable 80-inch length gives the piece the scale of a full reclining daybed. The broad teak head upright retains a clearly visible painted inventory inscription, “PGI 315”. PGI refers to the Postgraduate Institute of Medical Education and Research in Chandigarh, established in 1962; 315 is the accompanying inventory number. The surviving lettering associates this particular frame with the institute and records its later institutional use, following the circa 1955–1956 design date. Painted directly onto the structural timber beside the cane back, the mark is an integral detail of the daybed’s history, complementing the worn edges, visible bolts and patinated woodwork. The vintage teak retains variations in grain, color and surface wear, with softened edges and individual traces of use visible in the photographs. These details give the woodwork its material character and preserve the sense of a furnishing made for daily life in institutional or residential interiors. The present upholstery is a later treatment of the vintage structure. For a related webbed Chandigarh daybed...

Narrow drafting and work table by Pierre Jeanneret from the Chandigarh furniture program, circa 1950s–1960s. An elongated teak top stands above angular supports, with a projecting lo...

Upholstered teak daybed by Pierre Jeanneret from the Chandigarh furniture program, circa 1957–1958, with a contemporary dark taupe shearling pad and cylindrical bolster. The long reclining plane is supported by a low frame with emphatic compass-form ends. Jeanneret’s furniture formed part of the larger architectural project of Chandigarh, the new city developed in post-independence India. Alongside desks, chairs and storage furniture, his daybeds addressed the quieter activities of rest and informal seating. Their generous horizontal surfaces were supported by a practical timber framework made with local craftsmen. The design gives an everyday furnishing the clarity of a small architectural structure, with its proportions, visible joints and open spaces establishing a close relationship between useful construction and sculptural form. Broad angled members spread toward the floor at each end, while a low longitudinal stretcher links the supports beneath the seat. The timber rail remains exposed below the padding, preserving the separation between the vintage base and the current soft furnishing. The rounded bolster rests above the otherwise uninterrupted horizontal plane. The side rail retains painted “PGIMER” lettering followed by inventory number “116” above a line, with “2” below. PGIMER identifies Chandigarh’s Postgraduate Institute of Medical Education and Research, established in 1962. The paint records later institutional use of the daybed and adds a particular medical-institute association to the history of this frame. The vintage teak retains variations in grain, color and surface wear, with softened edges and individual traces of use visible in the photographs. These details give the woodwork its material character and preserve the sense of a furnishing made for daily life in institutional or residential interiors. The present upholstery is a later treatment of the vintage structure. A related Chandigarh daybed...

Floating-back office armchairs by Pierre Jeanneret from the Chandigarh furniture program, circa 1955–1956. Teak compass frames carry woven cane seats and backs beneath broad, horizon...

Compact teak file rack by Pierre Jeanneret, a variant of model PJ-R-27-A, from the Chandigarh furniture program, circa 1957. Six open compartments are organized within a rectangular ...

Upholstered dining chairs by Pierre Jeanneret from the Chandigarh furniture program, circa 1958–1959, presented in burgundy hair-on-hide. Their compact teak frames combine upright re...

Teak and cane bench by Pierre Jeanneret, catalogued as model PJ-SI-33-C, from the Chandigarh furniture program, circa 1955–1956. Three adjoining rectangular woven panels are containe...

Low upholstered daybed by Pierre Jeanneret from the Chandigarh furniture program, circa 1957–1958. The broad rectangular platform is presented in contemporary brown velvet over a vin...

Upholstered teak daybed by Pierre Jeanneret from the Chandigarh furniture program, circa 1957–1958. A long, low platform and cylindrical bolster are presented in contemporary brown alpaca, whose soft surface contrasts with the angular timber base. Jeanneret’s furniture formed part of the larger architectural project of Chandigarh, the new city developed in post-independence India. Alongside desks, chairs and storage furniture, his daybeds addressed the quieter activities of rest and informal seating. Their generous horizontal surfaces were supported by a practical timber framework made with local craftsmen. The design gives an everyday furnishing the clarity of a small architectural structure, with its proportions, visible joints and open spaces establishing a close relationship between useful construction and sculptural form. The rectangular upholstered plane rests above a narrow exposed seat rail. At either end, inclined teak members spread outward toward the floor, giving the base its characteristic compass profile. A low longitudinal stretcher links the supports and keeps the understructure visually open. The bolster introduces a rounded element within this otherwise rectilinear composition. The generous length is balanced by a relatively narrow depth, preserving the daybed’s elongated proportions. Seen from the side, the continuous cushioned surface appears to float above the darker woodwork, while the end supports provide a strong visual anchor. Grain, worn edges and variations in the brown teak distinguish the vintage structure from the current covering. Faint painted inventory lettering survives toward one end of the long teak side rail, including “CCS HAU” and “B. HOSTEL”. Studio Balestra associates these markings with the boys’ hostel furniture at Chaudhary Charan Singh Haryana Agricultural University in Hisar, Haryana. The university adopted the Chaudhary Charan Singh name in 1991, so the inscription records a later chapter of institutional use of the earlier daybed design. The worn lettering remains on this frame beneath the contemporary alpaca pad, giving its patinated timber a particular history alongside the daybed’s clear structural geometry. The vintage teak retains variations in grain, color and surface wear, with softened edges and individual traces of use visible in the photographs. These details give the woodwork its material character and preserve the sense of a furnishing made for daily life in institutional or residential interiors. The present upholstery is a later treatment of the vintage structure. A related Chandigarh daybed...

A distinctive pair of sculptural stools or side tables crafted from richly veined brown marble. Each piece features a bold waterfall silhouette divided by a deep central channel, wit...

An architectural pedestal crafted from richly veined rose marble. Its restrained rectangular form is elevated by a stepped base composed of contrasting marble, creating a subtle inte...

A striking Italian stone column with the presence of a found architectural sculpture. Its monumental scale, beautifully weathered surface, and su...

A monumental stone column from Italy, distinguished by its strong architectural presence and timeworn character. Its substantial proportions and natural surface variations give the p...

Floating-back office armchairs by Pierre Jeanneret from the Chandigarh furniture program, circa 1955–1956. Broad teak armrests sit above compass-form side supports, framing woven can...

This French mid-century enfilade pairs richly figured wood sliding doors with a striking emerald painted accent and natural wood exterior, creating a refined contrast between natural...

Upholstered teak dining chairs by Pierre Jeanneret from the Chandigarh furniture program, circa 1958–1959, presented in natural linen. Rectangular framed backs and compact padded sea...

Crafted from solid slab wood, this console features a deep, timeworn patina and natural bases. A bold, understated piece that celebrates the beauty of age and material.

A one-of-a-kind contemporary table from Japan featuring a natural stump base and a hand-applied cashew finish top with the appearance of stone. Organic materials and sculptural form ...

A contemporary Japanese console with a black cashew wood top and organic sculptural base, balancing bold form with natural elegance. Distinctive in both material and shape, it serves...

Hand-sculpted in Japan, this bench highlights the natural beauty of wood through its organic form and contrasting black and natural finishes. Equally functional and sculptural, it ma...

Teak pigeonhole desk by Pierre Jeanneret from the Chandigarh furniture program, circa mid-twentieth century. A broad dark inset working surface sits above an asymmetric composition o...

Hand-sculpted demilune console by Zanine Caldas, created in the 1970s–1980s. Crafted from solid wood with an organic carved form and curved silhouette, the piece reflects Caldas’ scu...

Teak student desk by Pierre Jeanneret, model PJ-BU-08-A, from the Chandigarh furniture program, circa 1960. A compact rectangular work surface, open knee space and small side compart...

Portable teak magazine rack by Pierre Jeanneret, model PJ-R-07-A, from the Chandigarh furniture program, circa 1960–1961. Two inclined panels create a V-shaped cradle between open co...

The Poul Henningsen PH 5/5 pendant from mid-century Denmark features a tiered copper shade system designed to diffuse light with precision and warmth. Its layered construction create...

A set of woven stools from mid-19th century France, defined by their simple, timeworn forms and craftsmanship. Handwoven seats contrast with the solid wood frames, offering a balance...

A Japanese two-tone elongated coffee table crafted from carefully joined wood, highlighting the beauty of contrasting grains and tones. Set on a natural trunk base, the piece balance...

The Vault Paper Credenza by Studio Balestra is a made-to-order case piece defined by clean architectural lines and quiet material presence. Concealed doors open to generous interior ...

Teak and cane linen box by Pierre Jeanneret from the Chandigarh furniture program, circa 1955–1956, presented with a contemporary loose mohair cushion. The low rectangular case combi...

The Dolmen Dining Table by Studio Balestra is architectural in shape and design, defined by two large tapered pedestal bases that create a strong, sculptural presence. Crafted from w...

Japanese woven bamboo chests in a two-tone finish, showcasing the texture and craftsmanship of traditional weaving techniques. Each lid lifts from the base to reveal interior storage...

A sculptural occasional table finished in richly figured burl wood veneer, showcasing the organic movement and depth of the grain. Its bold form and warm tones create a striking acce...

A Japanese desk in natural light wood, featuring additional storage and warm architectural lines. Metal pull hardware adds a subtle contrast, bringing a refined, functional detail to...

A study in proportion and material harmony, the Model No. 21 Armchair by Charlotte Perriand exemplifies her modernist ethos. With its clean lines, solid oak wood frame, and woven sea...

A traditional Japanese tansu from the early 1900s, crafted in a warm-toned wood and accented with original antique metal hardware. Featuring a thoughtful mix of shelves, sliding door...

An iconic design by Jean Prouvé, the Scal Daybed pairs industrial precision with elegant simplicity. Featuring a sleek metal frame and minimalist profile, it embodies Prouvé’s signat...

This two-door cabinet features a natural wood body topped with a refined plaster-treated surface that adds soft texture and visual interest. Inside, ample storage and integrated shel...

This mid-20th-century occasional table from Belgium pairs a buffed blue stone top with a primitive reclaimed wood base. It's tactile materials and traditional silhouette bring depth ...

This contemporary hand-blown Murano glass sconce features a textured glass shield shade, paired with refined brass and a black sphere accent. Sculptural and modern, it adds a sophist...

This Poul Henningsen floor lamp features warm amber glass that casts a soft glow. Its iconic tiered design balances elegance and functionality, bringing a touch of Danish modern soph...

This pair of Poul Henningsen amber sconces casts a warm, amber glow through their softly tinted shades. With PH’s signature tiered design, they o...

This mid-20th-century Belgian dining table features a unique wood treatment that reveals both ebonized and natural wood, creating a striking, organic pattern across the surface. Its ...

Teak writing desk by Pierre Jeanneret from the Chandigarh furniture program, circa 1960. A broad rectangular top with a dark vinyl inset stands above paired drawer units and compass-...

This mid-20th century Axis Dining Table features an organic, sculptural tabletop that brings a fluid, natural presence to any dining space. Its contrasting ebonized wood legs add bol...

Teak and cane linen chest by Pierre Jeanneret from the Chandigarh furniture program, circa 1955–1956. A low rectangular case is enclosed by woven cane panels and a solid hinged teak ...

Designed in the 1960s by Charlotte Perriand, the La Cachette chairs combine sleek modern lines with a sense of comfort. Their sculptural form and refined materials make them timeless...