Furniture

“Scuderia” dining table, designed by Carlo Scarpa and produced by the Italian manufacturer Bernini in 1977. Originally, Carlo Scarpa designed the table to restore the stable of Villa Valmarana in Vicenza in 1972. The table features a solid walnut structure. Available also five “Kentucky” dining...

Complet service set designed by Jørgen Møller for Royal Copenhagen, Denmark 1980s. Set includes service tray with handle, oil bottle, vinegar bottle, mustard bowl and stainless steel spoon.

Set of 5 mod. 783 “Kentucky” dining chairs, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Structure made from oak and walnut timber. Seats and backrest made from cognac leather. Excellent vintage condition. Carlo Scarpa designed this chair for the “Scuderia” series., the last project he made for Bernini. The architect took inspiration from the “shaker” movement. He designed the chair slightly inclined at the front. This feature allows you to swing backward (until you lean on a wall) and remain in balance. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. A year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity. From 1927, Carlo Scarpa began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building that stands on the Grand Canal banks, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa found himself constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, all worth mentioning. One of his key works, despite its relatively modest diminished proportions, was the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and clearly shows Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in terms of how twentieth-century museums were set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his most significant ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of: – Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) – Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on the renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions, working on the Carlo Felice Theatre in Genoa and another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa started building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures, occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, rising up out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem,” [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea” followed by a cloister which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways teamed with the luminosity of these harmoniously blended spaces shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure.” Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded eight years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana,” “Quatour,” and “Orseolo.” While in 1974, they added couch and armchair “Cornaro” to the collection and the “Toledo” bed...

Product description:  Piet Hein was a polymath from Copenhagen, he was a mathmatician, poet, designer, writer and inventor. During the second world war he joined the resistance in D...

Sung glazed stoneware baby elephant by Knud Kyhn for Royal Copenhagen. The sculpture is decorated with a light earthy Sung glaze with a touch of green. Marked and signed KK to the ...

Gianfranco Frattini for Bernini set of six walnut and black leather chairs, Italy 1981 circa. This set, designed by Gianfranco Frattini for Bernini, is characterized by a splendid co...

Danish Mid-century ceramic vase from the Royal Copenhagen "Baca" series. Manufactured in the 1970s. The decor was designed by Danish designer Johanne Gerber and the shape was des...

Porcelain figurine of a cuddling child model #3009 Produced by the Danish manufacture Royal Copenhagen Mark used in 1951. Very good condition, no damage Measures: height: 15cm w...

This vase was done by the well known Royal Copenhagen factory of Denmark in approximately 1965 in the period Mid-Century Modern style. This bottle shaped vase was designed by Inge-Li...

Porcelain figurine of a boy shaving a stick model #905 Produced by the Danish manufacture Royal Copenhagen Mark used in 1969-1973. Very good condition, no damage Measures: Height...

Porcelain figurine of a bear with cub, designed by Knud Kyhn for Royal Copenhagen. Produced in 1960. Very good condition, no damage. Measures: height 11cm, width 11cm, depth 8cm.

Astonishing coffee table mod. 554 designed by Gianfranco Frattini in 1957 for Bernini. Versatile and elegant This incredibly elegant coffee table has two drawers with carved handles and the two iconic curved legs are connected by a central support. The Table was made and tested as can be seen in the photos on January 31, 1964 and still has its original tag. It is in excellent condition. This beautiful coffee table is the perfect addition for mid-century living room. Measures (cms): width - 70 depth - 53 height - 47.5 Gianfranco Frattini opened his own professional practice in Milan, after having worked in the office of his teacher and mentor Giò Ponti. Frattini became an Industrial designer by default when he lacked appropriate lighting and furniture for his interiors. His collaboration with Cesare Cassina for his namesake company started in 1954, followed by collaborations with many other manufacturers, such as Bernini, Arteluce, Acerbis, Fantoni, Artemide (for whom among others pieces with Livio Castiglioni he designed the historic Boalum lamp...

Large glazed stoneware Falcon designed by the Danish ceramist Knud Kyhn (KK) all the way back in 1940-50. Hugely inspired by the sung glazes applied in Axel Salto's and Bode Willumse...

This series of elephants/mammoths, bears, monkeys etc was designed by the Danish ceramist Knud Kyhn (KK) all the way back in 1929-36. Hugely inspired by the sung glazes applied in Ax...

Porcelain figurine of a boy shaving a stick model #905 Produced by the Danish manufacture Royal Copenhagen Mark used in 1969-1973. Very good condition, no damage Measures: Height...

Royal porcelain mussel-painted thimble from around the 1950s in very fine condition.

Ceramic vase from the Royal Copenhagen "Baca" series designed by Nils Thorsson in the late 1960s. This vase was manufactured in the period 1975 to 1979. It features an abstract pa...

Three large table lamps with Blue Conifer Cone by Fog & Mørup For Royal Copenhagen Porcelain Company The lamps are sold and priced individually. Discount available if sold as a grou...

Thorkild Olsen for Royal Copenhagen, Denmark, delightful porcelain grey crackle glaze lidded jar Decorated with dark terracotta and brown banding with gilded acorn decoration to lid...

A brown glazed stoneware vase designed and produced by Royal Copenhagen, Denmark, 1950s.

Ceramic vase from the Royal Copenhagen "Baca" series with decor designed by Johanne Gerber on the shape designed by Nils Thorsson. Designed in the 1960s. This vase was manufactured i...

Unique faience vase handmade by Danish artist Bode Willumsen in 1946 at workshop of Royal Copenhagen, Denmark. The vase is modelled with an amazing pierced motif of Adam and Eve in t...

Franco Poli Table “Cangrande” in Walnut for Bernini, Italy 1970s A superb solid walnut wood table with a lovely beveled crystal top with sandblasted frosted bands by Italian designe...

Danish mid-century Baca Faience plate by Nils Thorsson for Royal Copenhagen Small mid-century plate from the Baca series by Nils Thorsson for Royal Copenhagen. This highly detail...

Chocolate Cup & Smooth Saucer Medicago minima L. 3513 Flora Danica (1961 To Current) by ROYAL COPENHAGEN Cup 2.75" x 3.5" x h 2.75" The last picture shows other items from the same ...

One of the more rare to find vases from Aluminia (later brandname Royal Copenhagen) "Baca" series. The decor is designed by Nils Thorsson in the 1960s. This vase was manufactured in the 1965 and is from the early production at Aluminia. The vase features stylized ornamental birds...

Produced by Royal Copenhagen 1960s. Beautiful condition and elegant white surface. Stamped. Height is from bottom to socket. Sold without lampshade.

A set of four porcelain bear figurines designed by Knud Kyhn for Royal Copenhagen. Figures produced in the 1950s. Very good condition without ...

This hand-painted porcelain plate by Royal Copenhagen is adorned by the firm's highly regarded Flora Danica pattern. While the majority of the motifs in the Flora Danica pattern capture the native fungi and flowers of Denmark, this plate is part of a rare series of crustacean motifs. At its center is a life-like representation of the Nephrops norvegicus, or Norway lobster, while the creature’s Latin name is inscribed on the reverse. Accented with a delicately gilded edge, this plate is a testament to the skill and talent of Royal Copenhagen artists. Once the porcelain supplier to the Queen of Denmark, Royal Copenhagen is known throughout the world for their quality craftsmanship and creative innovation. Founded in 1775 under the authority of Queen Juliane Marie, the first pieces ever produced were complex dining services for the Danish Royal Family...

Bear figure in ceramic, designed by Knud Kyhn. Bear figure of stoneware from Royal Copenhagen. Additional information: Material: Ceramic Artist: Knud Kyhn Size: 13 W X 9 D X...

Royal Copenhagen terracotta crackle glaze pot with grey crackle glaze lid adorned with figural Cupid. Decorated with gilt banding. Signed and numbered 2936 Circa 1954 Height 3.5 inc...

This is a Royal Copenhagen porcelain of small tenacious bird figurine known as a seagull. At the base is the Royal Copenhagen hallmark with the number-14...

Royal Copenhagen Large Porcelain vase painted with the trumpet flower. Producers of the best in Danish porcelain, Royal Copenhagen is a company steeped in tradition. The famo...

This is a Royal Copenhagen porcelain of small bright and colorful bird figurine known as a Blue Tit. At the base is the Royal Copenhagen hallmark with the num...

Dining table and six chairs by Gianfranco Frattini A table and six chairs designed by Frattini and produced by Bernini in Italy in 1957. The model 552 dining table has two hourglass...

Royal Copenhagen grey crackle glaze dish with a detailed central motif of a gilded snail and leaf garland Outer has gilded banding to rim and foot Stamped with signature three wave...

Square ceramic vase from the Royal Copenhagen "Baca" series by Nils Thorsson This decor is designed by Johanne Gerber and made in the period 1969-...

The porcelain handles of this knife and fork are finely hand-painted with botanical specimens native to Denmark in this beautiful Flora Danica carving utensils set. Created by the le...

This is one of the more rare to find vases from the Royal Copenhagen "Baca " series by Nils Thorsson. This vase was designed in the 1960s and manufactured in the period 1969-1974. The vase features an abstract decor...

Ico and Luisa Parisi vanity desk from Hotel Lorena, Grosseto manufacured by Ditta Bernini Italy, 1959-60 this desk is very rare because this is the large version of the desk and...

ROYAL COPENHAGEN - Ellen Malmer/designer - Nils Thorsson/shape designer - Mid Century Modern - Baca series - Aluminia faience vase number 635/3121 - signed on the base ROYAL COPENHAG...

This is a Royal Copenhagen porcelain pair of small, bold and curious birds figurines known as Wren Birds. At the base are the Royal Copenhagen hallmarks with...

Pair of Porcelain Table Lamps by Fog & Morup for Royal Copenhagen, Denmark 1960s. Danish white porcelain lamps with blue decoration of parsnip p...

Large roaring polar bear figurine/sculpture in porcelain. Designed in 1901 by Carl Frederik Liisberg for Royal Copenhagen. This example dates to t...

1980s Original Royal Copenhagen blue crystal glass table lamp with original blue silk lamp shade featuring an orange thread. The lamp is in goo...

Bear figurine in ceramic by Knud Kyhn Ceramic figurine from Royal Copenhagen. Additional information: Material: Ceramic Artist: Knud Kyhn ...

Bear figure in ceramic, designed by Knud Kyhn Bear figure of stoneware from Royal Copenhagen. Additional information: Material: Ceramic Artist: Knud Kyhn Size: 13 W X 8 D X ...

Antique Royal Copenhagen 13" blue white Porcelain windmill vase 2634 2983. Circa mid 20th century. Measurements: 13" H x 7" W x 7" D.

Multiple pieces. Also to be sold separately. Please ask if you need to have dimensions of a certain piece or if you want to buy a single piece.

Danish Mid-Century Modern faience frame mirror by Marianne Johanson for the Royal Copenhagen Tenera series. Hand-painted floral organic decor i...

Ceramic scandinavian vase serie “Marselis” designed by Danish artist Nils Thorsson for Royal Copenaghen, Denmark 1950s Please note that the item is original of the period and this...

Danish Art Deco vase by Nils Thorsson for Aluminia (later brandname Royal Copenhagen). The vase is from the "Solbjerg" series which was designed by Nils Thorsson in 1933 to 1936 and ...

This ceramic vase from Royal Copenhagen was designed by Berte Jessen in the 1960s and manufactured in the period 1969-1974. It belongs to the "Tenera" series and features an abstrac...

This set of four chairs was designed by Silvio Coppola for Bernini, and produced in the 1960 in Italy. The chairs frame are made of beech wood with foam padding and leather upholstery.

Royal Copenhagen porcelain gilded terracotta and grey crackle glazed baluster vase. A premium quality vase with a matt glaze to the terracotta porcelain. Circa 1954. Stamped and ...

Interesting sculptural ‘Gregge’ coffee table in very good condition. Designed by architect Giulio Lazzotti. Produced by Bernini, Italy. Thick square glass top (18 mm.) The base...

Stunning medium sized writing desk model 530 designed by Gianfranco Frattini and manufactured by Bernini, Italy 1957. This desk is made of nicely grained rosewood and cherrywood vene...

Ceramic table lamp designed by Nils Thorsson for Royal Copenhagen and Fog & Mørup and made circa 1970s. It features an abstract floral decor in brown and blue matte glaze. The suraf...