Pen Holder Desk by Fontana Arte for Rolex Shop Dealer, 1960s

While the rise in popularity of vintage Rolex watches is of no surprise to aficionados, collectors and industry experts, when it comes to contemporary luxury wristwatches, Rolex is also often the first brand that springs to mind. Not only is the company revered for its precision timekeeping and impeccable craftsmanship, but its name was designed to be memorable.

Rolex's enviable worldwide recognition can be credited in part to the genius of company founder Hans Wilsdorf. When the German-born watch dealer and his brother-in-law, Alfred Davis, set up their London enterprise, in 1905, they called it Wilsdorf & Davis, according to the traditional formula.

But Wilsdorf was determined to come up with another name that was short, would look good on a watch dial and was easy to say and remember in several languages. In 1908, he trademarked the name Rolex, and by 1920, he had moved the company to Geneva and redubbed it as Montres Rolex S.A.

But the main reasons for the brand’s success are its aforementioned commitment to precision and unflagging pursuit of innovation. In 1926, the company introduced the aptly named Oyster model. With a screw-down crown and case back, both fitted with rubber gaskets, this was the first truly waterproof watch.

Five years later, Rolex upped the ante with the Oyster Perpetual. That model’s patented Perpetual movement contained a rotor mechanism enabling it to self-wind. In another trendsetting move, in 1945, the brand debuted the Datejust, with a date window prominently displayed on the dial.

The company’s two most iconic models are sports watches. Although the Submariner, which debuted in 1953, was developed as a dive watch, its waterproof case, solid construction and good looks made it a favorite of adventurers and urbanites alike, including James Bond, who wore it in classics like Dr. No and Goldfinger. The Daytona, the racing chronograph made famous by Paul Newman, is especially sought after by collectors. Newman’s personal Daytona, which hit the auction block in 2017, sold for $17.8 million.

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Best known for its elegant and innovative vintage lighting fixtures, the Milan-based firm Fontana Arte pioneered one of the key features of 20th-century and contemporary Italian design: the union of artistry and industry wrought by partnerships between creative talents — chiefly architects — and entrepreneurial businesses. Fontana Arte is further distinguished by having had as artistic director, in succession, four of Italy’s most inventive modernist designers: Gio Ponti, Pietro Chiesa, French transplant Max Ingrand and Gae Aulenti.

The bread and butter of the glassmaking company that Luigi Fontana founded in 1881 was plate-glass panels for the construction industry. In 1930, Fontana met Ponti — then the artistic director of the Richard Ginori ceramics workshop and the editor of the influential magazine Domus — at a biannual design exhibition that became the precursor to today’s Milan Design Triennale, and the two hatched an idea for a furniture and housewares firm. Fontana Arte was incorporated in 1932 with Ponti as its chief of design. He contributed several lamps that remain among the company’s signature works, including the orb-atop-cone Bilia table lamp and the 0024 pendant — a stratified hanging sphere.

The following year, Fontana Arte partnered with the influential Milan studio glassmaker and retailer Pietro Chiesa, who took over as artistic director. Chiesa’s designs for lighting — as well as for tables and items including vases and ashtrays — express an appreciation for fluidity and simplicity of line, as seen in works such as his flute-shaped Luminator floor lamp and the 1932 Fontana table — an arched sheet of glass that is held in the permanent collection of the Museum of Modern Art.

Six years after Chiesa’s 1948 death, the École des Beaux Arts–trained Max Ingrand took over as head of design at Fontana Arte. Ingrand brought a similarly expressive formal sensibility to wares such as lamps and mirrors, but he also had a masterful eye for the manipulation of glass surfaces — whether they be cut, frosted, acid-etched or sand-blasted. His classic design is the Fontana table lamp of 1954, which has a truncated cone shade and curved body, both of which are made of pure, chic white-frosted glass.

Following Ingrand, the often-audacious Italian architect Gae Aulenti served as the company’s artistic director from 1979 to 1996, and while she generally insisted that furnishings take second place aesthetically to architecture, she made an exception for Fontana Arte pieces such as the Tavolo con Ruote series of glass coffee and dining tables on wheels, bold lighting pieces such as the Parola series and the Giova, a combination flower vase and table lamp. As a key incubator of modern design under Aulenti’s tenure, Fontana Arte remained true to its long-held commitment — creating objects that have never been less than daring.

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