Poggi Furniture

Marco Zanuso for Poggi, set of ten dining chairs, model SD 57, walnut and fabric, Italy, 1973. Elegant and sleek set of ten dining chairs designed by Italian designer Marco Zanuso. ...

A two modular teak bookcase, Designed by Franco Albini and edited in 1956 by Poggi, Pavia, Marked. Composed of two modules with storages units and shelves. Black laquered metal ends,...

Franco Albini for Poggi, sideboard model MB 15, teak, Italy, design 1957 Well-designed sizable sideboard by Franco Albini for Poggi in the 1950s in Italy. This design features a sim...

Franco Albini for Poggi, dining table, model TL2, walnut and iron, Italy, 1951. The TL2 table by Franco Albini features a simplistic and sleek design. Executed in darkened walnut wo...

Franco Albini (1905-1977) lived in Milan where he stuied Architecture at the Politecnico. He started his career at Gio Ponti's studio, with whom he collaborated before getting in tou...

A dining table or desk Model TL2 by Franco Albini, better known as "Cavalletto", is an iconic piece designed by the esteemed Italian maestro in the 1950s. This table embodies the ess...

Franco Albini “PS16” rocking chair for Poggi, original fabric and walnut, Italy, 1959. The Albini "PS16" is a rocking chair with a timeless design....

An iconic design with a refined and essential taste, which in its playful form evokes a reassuring feeling of familiarity. Franco Albini created the table by reducing its structure t...

Set of 8 dining chairs model 'Golem' designed by Vico Magistretti for Poggi. The chairs are made of black lacquered wood and upholstered with black skai. Beautiful slim and modern ...

Mid-Century Modern space age Italian design pair of armchairs or lounge chairs by Franco Albini for the editor Poggi, recently reupholstered, minor fading on fabric. Famous design li...

Rare and important writing desk model Stadera designed by Franco Albini for the Poggi manufacture in 1959. Model 840. Made of noble wood for its shelf, in perfect preserved conditi...

LB7 bookcase, designed by Franco Albini and manufactured by Poggi in 1957. Modular bookstore composed by upholds, containers with flying and doors, shelv...

This table, with its minimal lines and an extremely light look, underscores the extensive thought, by Franco Albini, and the advanced wood-working skills, by Poggi, that went into it...

Set of 8 Golem chairs designed by Vico Magistretti and manufactured by the Italian brand Poggi in 1968. Excellent vintage condition. This design creation speaks for itself. It fea...

Franco Albini model TL2 desk or dining table for Poggi, Italy, 1950s Franco Albini for Poggi, dining table model TL2, walnut and metal, Italy, 1951. The TL2 table by Franco Albini ...

Franco Albini (1905-1977) lived in Milan where he stuied Architecture at the Politecnico. He started his career at Gio Ponti's studio, with whom he collaborated before getting in tou...

This elegant serving cart (model CR20) made of solid teak as well as plywood impresses with its simplicity. The two tableau level is flanked by three struts placed on casters. Design...

A fantastic, well-preserved set of 6 so called 'Pamplona' chairs designed by Augusto Savini and manufactured by Pozzi, Italy 1965. These utterly comfortable dining chairs have a soli...

Italian rare and famous dark wood midcentury modern design sideboard model MB15 designed by Franco Albini for POGGI Pavia in 1958, model with two doors, sliding shelve and a pull-out...

Italian midcentury modern design credenza sideboard model MB15 designed by Franco Albini and produced by Poggi Pavia from 1958, four doors with sliding shelves and a pull-out shelf/t...

Franco Albini (1905-1977) lived in Milan where he stuied Architecture at the Politecnico. He started his career at Gio Ponti's studio, with whom he collaborated before getting in tou...

LB7 modular bookcase composed of a single module with shelves and a storage cabinet with two doors, made in veneered solid teak wood, and black l...

Luisa dining chairs by Franco Albini for Poggi, Italy, 1950's This set of iconic minimalist Luisa chairs retains their original green wool upholstery and patina. They have not been...

Set of two "Model PL19" chairs, designed by Franco Albini, manufactured by Poggi Pavia, Italy. The chairs have a lacquered metal frame and are upholstered with red velvet. Literat...

Franco Albini for Poggi Table or Desk, Italy 1960s Walnut table TL22 model by Franco Albini for Poggi Italy 1960s. It is in excellent condition, with a minor patina on the wood part...

Franco Albini (1905-1977) lived in Milan where he stuied Architecture at the Politecnico. He started his career at Gio Ponti's studio, with whom he collaborated before getting in tou...

Set of six chairs model SD60 by Marco Zanuso for Poggi. Variation of the chairs designed in 1963-75 for IBM headquarter office furniture. Chair is composed by two solid walnut U sh...

Chest of drawers model CS49 with four frontal drawers and four doors revealing inner shelves with structure in black lacquered wood and top upholstered with black skai or faux leather. Designed by Vico Magistretti and produced by Poggi in 1970s Ludovico Magistretti was born in Milan on 6 October 1920. He went to Parini High School and in autumn 1939 enrolled in the Staff of Architecture at the Royal Polytechnic in Milan. After 8 September 1943, to avoid being deported to Germany, he left Italy during his military service and moved to Switzerland, where he took some academic courses at the Champ Universitaire Italien in Lausanne, taught at the local university. During his stay in the Swiss city he met Ernesto Nathan Rogers, the founder of the BBPR firm who had taken refuge in Switzerland after racist laws were passed in Italy. This was a key encounter in Magistretti’s intellectual and professional development, since the architect from Trieste turned out to be his maestro. He returned to Milan in 1945, where he graduated in Architecture at the Polytechnic on 2 August. He then immediately began his career working with the architect Paolo Chessa at the firm owned and run by his father, who died prematurely that same year. Here, in his father’s small firm, he spent his entire career in partnership with Franco Montella. During reconstruction operations in Milan from 1949-59, Magistretti designed and constructed about 14 projects for INA-Casa in conjunction with other architects. He was involved with Mario Tedeschi in the joint project for the QT8 neighbourhood, designing houses for veterans from the African campaign and also Santa Maria Nascente Church. In 1946 he participated in the R.I.M.A. exhibition (Italian Assembly for Furniture Exhibitions), held at the Palazzo dell’Arte, designing some small almost self-made pieces of furniture and then, in 1947 and 1948, he took part together with Castiglioni, Zanuso, Gardella, Albini and others in the exhibitions organised by Fede Cheti, a furniture fabric maker, held at her own workshop. The young architect was involved in plenty of activities and came up with lots of new ideas and proposals in the 1950s. Over the following years he also designed a number of other important projects, including the Towers in piazzale Aquileia (1961-64), Bassetti House in Azzate (1960-62), Cassina House in Carimate (1964-65), and the house in via Conservatorio in Milan (1963-66). In 1956 he was one of the founding members of the ADI, Industrial Design Association, and during the same year he was a member of the panel of judges for the Golden Compass Award for the first time. His work as an architect was almost totally focused on the issue of housing and living from the 1960s onwards, as he developed his own extremely expressive idiom, which, even though it was heavily criticised at times, made a real impression on the architectural scene in Lombardy during that period, making him one of its leading figures. This is the context in which he took part in the CIAM Congress (International Modern Architecture Congress) held in Otterlo in the Netherlands in 1959, during which the Italians presented Velasca Tower designed by the BBPR, the Olivetti canteen designed by Ignazio Gardella, Arosio house designed by Vico Magistretti (1956-59), and the houses in Matera designed by Giancarlo De Carli. These works caused a real scandal and were, in some respects, emblematic of the deep crisis which struck the CIAM over those years, until then the undisputed protagonist of architectural debate, so much so that the 1959 Congress turned out to be the last. Magistretti’s project for a small house in Arenzano allowed him to discover his own language and own image. Magistretti was one of the founding fathers of so-called Italian Design, a phenomenon which he himself described as “miraculous” and which only happened thanks to the coming together of two key players: architects and manufacturers. He began working with some exceptional manufacturers from the end of the 1960s, including Artemide, Cassina and Oluce, designing objects for them which are still “classics” of modern-day production. The next decade saw Magistretti’s architectural enterprises increasingly backed up by his work as a designer. The first product designed by Magistretti dates back to 1960 – the Carimate chair, designed to decorate the golf club he designed in the same year and actually brought into production by Cassina – but he then went on over subsequent years to design numerous other objects for the same company, notably including the Maralunga sofa (1973, Golden Compass award in 1979), Sindbad sofa (1981) and Veranda armchair (1983). He also designed a set of lamps for Artemide, including Mania (1963), Dalù (1966), Chimaera (1969), the extremely famous Eclisse (1967, Golden Compass award in the same year), Teti (1970) and Impiccato (1972). After the Demetrio coffee tables (1966), other pieces of furniture designed by Magistretti include Selene chair (1969), which, with the Panton Chair and Joe Colombo’s Universale, vied to become the world’s first plastic chair. For many years Magistretti was also the art director and main designer for Oluce, giving the company’s production range its own unmistakable style. His masterpieces, icons recognised all over the world, include the following lamps: Snow (1974), Sonora (1976), most notably Atollo (1977, Golden Compass Award 1979), Pascal (1979) and Kuta (1980). As regards architecture, this was the period when he built Cusano Milanino Town Hall (1966-69), the Milano San Felice neighbourhood in Segrate (1966-75, in partnership with Luigi Caccia Dominioni), and the house in Piazza San Marco (1969-71). Magistretti’s teaching career began back in the late 1970s at the Royal College of Art in London as a visiting professor, where he was also made an honorary member in 1983. “Today’s real great enemy is vulgarity. I love Anglo-Saxon culture because it is free from it”. Vico Magistretti’s love of Great Britain was reciprocated and in 1986 he received a prestigious British prise: the gold medal awarded by SIAD, Society of Industrial Artists and Designers. It was indeed here at the Royal College of Art that the minimalist school first took shape, whose most refined exponents, Morrison and Grcic, were not just Magistretti’s own students, they also acknowledged him as being an absolute benchmark for developing what may be considered as one of the most interesting contemporary movements in the field of design. At the same time as he was teaching abroad, he continued working as an architect in Italy. His architectural works from that period include the headquarters of the Biology Department in Milan (1978-81, in partnership with Franco Soro), Tanimoto house in Tokyo (1985-86), and the Cavagnari Centre of the Cassa di Risparmio in Parma (1983-85). He also created lots of interiors, whose designs were free from any pretentions in terms of decoration and merely confined to creating structures suitable for their inhabitants, capable of withstanding the “natural insults of life. Because anybody living in a house I designed has their own culture, background and taste”, so Magistretti claimed as, once again, he proclaimed his adherence to the Modern Movement and distanced himself from any decorative intentions and hence Postmodernism. At the end of the 1980s he also began a partnership with a leading publisher: Maddalena De Padova, who was awarded the Gold Medal for lifetime achievement at the 20th edition of the prise. The panel of judges referred to: “Maddalena De Padova’s great commitment to producing and spreading design as a common culture interacting in various international realms, unique in Italy for the way she has maintained certain standards in terms of consistency and quality”. After giving up the ICF trademark in the late 1970s including the licence to manufacture Herman Miller products, Maddalena created a range of furniture and objects bearing the De Padova trademark, later named “è De Padova”, whose business partners included such great designers as Achille Castiglioni and Dieter Rams, but above all Vico Magistretti. The “è De Padova” collection designed by Magistretti includes such classics as: the Marocca chair...

Rare and important desk Model STADERA designed by Franco Albini for the Poggi manufacture, in 1959. Model 840. Made of noble wood for its shelf, the desk is the perfect modernist ele...

PL19 also known as Tre Pezzi armchair with black enamelled steel tube structure, upholstered in white Mongolian goat wool. Designed by Franco Albini & Franca Helg for Poggi, Pavia produced since the late 1950s to 1970s. 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 Staff 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 neighbourhood in San Siro in 1932 and then creating the Ifacp neighbourhoods: 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 “rigour 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 centre 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, built in a single prototype in 1940, has two main uprights, made up of slender curved and juxtaposed bars, linked by a complex tensile structure. The lightened upright is also found in the LB7 bookcase...

Wooden dining table TL22 model by Franco Albini for Poggi 60s. Born in Milan in 1905, Franco Albini is an Italian architect, urban planner and furniture designer, active between the ...

Born in Milan in 1905, Franco Albini is an Italian architect, urban planner and furniture designer, active between the 1930s and 1960s. He studied at the Milan Polytechnic and comple...

Wooden structure painted in white polyurethane colour. Black skai cover on the top (light defects at some corner). Large chest of drawers: cm 34,5h x 107w x 53,5d Small chest of dr...

TL59; dining table; round; bronze; glass; Smoked glass; Afra & Tobia Scarpa; Poggi; 1975; Italy; Italian Design; Post-Modern; This remarkable round dining table is designed by A...

Rare of walnut sideboard model "Mb15" by Franco Albini for Poggi. Perfect condition.

FRANCO ALBINI (Robbiate, 1905 - Milano, 1977) PL19, also known as "Tre Pezzi" Armchair Black enamelled steel tube structure, upholstered in white Mongolian goat wool. Manufacture...

"DV33" sofa designed by Franco Albini for Poggi in Italy, 1960s. It is a padded two-seater sofa reupholstered with a peculiar and superfine white soft furry fabric, pleasing to the ...

A rare rosewood version of the Cavaletto or TL2 table designed by the great neo-rationalist designer, Franco Albini. Designed in 1950 for manufacturers Poggi, the Cavaletto, (trestle...

A rare and early "PS16", cotton, cord and sycamore rocking chaise lounge designed by Franco Albini and produced by Poggi, Italy, 1950s-1960s.

Set of 8 dining chairs model ''Golem'' designed by Vico Magistretti voor Poggi. The chairs are made of black lacquered wood and upholstered with black skai. Beautiful slim and ...

Iconic table designed by the great italian maestro Franco Albini in '50s. The name of the model is TL30, and it summarises big part of the Albini's research: the theme of the lightne...

Lorenzo Andrei handcrafted Ceramic Terracotta lamp Poggi Ugo Italy High quality Italian Ceramic stunning terracotta craftsmanship Measures: 16.5 to socket x 7 diameter approximatel...

Cavalletto or TL2 dining or working table designed in 1950 by italian architect Franco Albini, old Poggi edition. Wood construction with bevelled edges tabletop and crossed legs with...

Franco Albini & Franca Helg for Poggi, Italian Mid-century Wooden Rocking Lounge Chair Model PS16 Manufactured by Poggi, Pavia, Italy. Together with a certificate of authenticity ...

Pair of SD51 Golem chair by Vico Magistretti for Poggi. Sinuous long backrest, lacquered frame and leather covering. A third single piece available

PL19 also known as Tre Pezzi armchair with black enamelled steel tube structure, upholstered in black Mongolian goat wool. Designed by Franco Albini & Franca Helg for Poggi, Pavi...

Impressive and unique Ugo La Pietra modular bookcase for Poggi from Italy in the 1970s. This bookcase consists of eleven elements in three different sizes. These stacking, double-sid...

Round table model TL30 with black lacquered metal base and a wooden top. Designed by Franco Albini for Poggi, Pavia in 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 Staff 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 neighbourhood in San Siro in 1932 and then creating the Ifacp neighbourhoods: 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 “rigour 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 centre 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, built in a single prototype in 1940, has two main uprights, made up of slender curved and juxtaposed bars, linked by a complex tensile structure. The lightened upright is also found in the LB7 bookcase...

Vintage chest of drawers model CS49 by Vico Magistretti for Poggi Productions, Italy 1970s chest of drawers model CS49 is an original design chest of drawers created by Vico Magistre...

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...

This set is composed by one chest of drawers and one cabinet. They were designed by Vico Magistretti and produced by Poggi, circa 1970. They can be used as a separate units or as a u...

Franco Albini (1905-1977) Round Side table model TN6 “Cicognino” Manufactured by Poggi Italy, 1952 Oak Measurements: 40 cm diameter x 80 cm height 15.7 in diameter x 31.4 in height...

A set of six "Luisa" chairs designed by Franco Albini for Poggi, Italy, 1950. Beautifully reupholstered in pale rose colour. Excellent condition. Prix "Compaso d''oro(1955).Weight e...

LB10 bookcase with freestanding uprights, designed by Franco Albini and produced by Poggi Pavia in 1958.

Italian mid century modern wood and brass three legs C24 cabinet or drawers by Franco Albini and Franca Helg for Poggi in 1958. Cabinet with four drawers or chest of drawers model C2...

Wooden shelf bookcase with floor and ceiling uprights, designed by Franco Albini in 1956 for Poggi Pavia. Shelves and storage unit in veneered wood adjustable in height and with upri...

Italian wood shelves bookcase with floor and ceiling uprights, designed by Franco Albini in 1956 for Poggi Pavia, shelves and container with wood veneer adjustable in height and with...

Modular bookcase designed by Franco Albini in 1956 for Poggi Pavia. An extremely flexible bookcase, with different modular options, suited to being against a wall or as a room partit...