Furniture

Carlo Scarpa rare "Cornaro 220" Sofa by for Simon International, Italy, 1970s Additional Information: Materials: Stained mahogany, velvet, brass, leather Dimensions: 26" H x 119...

MiCarlo Scarpa Poliedri Chandeliers for Venini, Murano, Italy, 1960s. We have two exquisite mid-century Venini Murano glass chandeliers for sale, designed by Carlo Scarpa in Italy...

An ornate art nouveau Danish sterling silver Georg Jensen lidded tureen with shell carved ebony handles, design #417A by Georg Jensen from circa 1920. This design is referred to as "...

A pair of antique Danish silver Georg Jensen candelabra, design #93 by Georg Jensen in 1918. The meticulous silversmithing showcased in these candelabra is truly remarkable, adorned with an abundance of intricately chased floral motifs and delicate beads. The fabrication process would have required a significant amount of time and skill, as each detail was carefully crafted by hand. Each candelabrum stands on a large round base supported by five elegantly designed feet resembling berries or buds. The hand-hammered stem is exceptionally thick, contributing to the overall grandeur of the design. Two gracefully curved arms extend from the stem, holding a substantial sconce...

Georg Jensen Sterling Silver Necklace number 452. It is called INFINITY and was designed by Regitze Overgaard in 2004. This particular piece in from this first series. It consists of 15 Links shaped as the number 8...

A bottle designed by Carlo Scarpa for Venini in the mid 1930s. The bottle is a very faint blue green color and displays the mezza filigrana method of glass ...

Cornaro two-seater sofa, designed by Carlo Scarpa and manufactured by Studio Simon in 1974. Made of Iroko wood, foam, and azure chenille velvet. Excellent vintage condition. Born in Venice on June 2nd, 1906, Carlo Scarpa began working very early. Only 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, he 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 which stands on the banks of the Grand Canal, 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 was 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 first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly 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 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 incredible ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the 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 renovating and restoring the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he worked on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began building a villa in Udine for the Veritti family. To shed some light on how much his work evolved over the years, it may be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near 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 which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as 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, plenty of other episodes can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen in 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 carried out simultaneously 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, arising 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 that ends by a small chapel, with an arcosolium bearing the family sarcophagi, the central 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 his many skills to come up with this truly magnificent space. As well as an outstanding commitment to architectural work, with the many projects 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 a couch and armchair, “Cornaro,” to the collection and the “Toledo” bed...

VENINI Chandelier

Georg Jensen Sterling Bracelet designed by Astrid Fog. Circa 1969. Georg Jensen iconic original sterling silver bracelet designed by Astrid Fog, Demark. Design #184 early sought afte...

This exquisite sterling silver bread tray showcases the timeless beauty of Georg Jensen’s art nouveau Blossom/Magnolia pattern. Created in 1905, this design, designated as #2D, epito...

Georg Jensen "Chime" Necklace by Astrid Fog. Circa 1960-1969. Necklace designed by Astrid Fog for Georg Jensen. It has long multiple chains...

Georg Jensen sterling silver baby / Christening cup With leaf motif capped handle 20th century, Denmark 110 g Engraved ROBERT.

Dining table mod. Delfi designed by Carlo Scarpa and Marcel Breuer for Gavina. Composed of two sculptural bases and a rectangular top 4 cm thick. Made in Carrara marble. Italy 1968. ...

This teak bowl designed by Henning Koppel for Georg Jensen is a beautiful and functional piece that will add a touch of elegance to your home decor. Made from high-quality teak wood,...

Rare Georg Jensen sterling silver butter spreader, dated 1925 from English hallmarks, with applied natural motifs, measuring 7'' in length by 7/8'' in width, and bearing hallmarks as...

A vintage Georg Jensen sterling silverware service in the rare Bittersweet pattern, design #79 from 1940 by Gundorph Albertus. This is...

A Georg Jensen Art Deco sterling silver box, design #712 by Sigvard Bernadotte from circa 1931. Dimensions: L: 5 3/8? x W: 3 1/8? x 3/4? (13.5cm x 8cm x 2cm). Weighs 9.15oz (267g)...

This Italian dining table from the 1970s exudes timeless elegance and beauty. It was designed by perhaps one of the prominent Italian modernist designers of the last century. What im...

The Cactus pattern was designed by sculptor Gundolph Albertus in 1930. Its modern style is representative of the Art Deco period and the emerging functionalist style of the early 193...

Georg Jensen sterling silver Cactus pattern bottle opener. Age appropriate wear from use.

Georg Jensen sterling silver bowl from 1950's with stamp that belongs to the George Jensen store in Barcelona. Sterling silver, weighs 578 grams.

Georg Jensen salt & pepper shakers #1135 designed by Henning Koppel. Denmark.

A complete Sterling silver Georg Jensen Mayan Pattern silverware service for twelve persons. The Mayan pattern is design #56 by Johan Rohde from 193...

A large vintage Georg Jensen Danish sterling silver Grape oval jardinière centerpiece bowl, design #296A by Georg Jensen. A hand hammered large oval bowl that rests on an oval base s...

Magnus Stephensen For Georg Jensen, Stainless Denmark Serving Fork And Spoon, comes in original box, shows very little signs of age and use.

A beautiful 90 piece sterling silver flatware set by Georg Jensen in the Acanthus pattern. It contains the following pieces: 20 teaspoons 6" 8 cream of soup spoons 5 1/2" 5 tablesp...

An exceptional, fine and impressive pair of antique Danish silver candlesticks made by Georg Jensen; an addition to our ornamental silverware col...

Manufactured in 1981 this curious bottle cap shaped opener is made from sculpted brass with a 'opener' mechanism in stainless steel. It is signed to the inside: Georg Jensen Design, ...

The Georg Jensen vintage sterling silver bread plate with Acorn pattern, designed by Johan Rohde, is a piece of Danish silverware that was...

Mid-Century Modern Cypress by Georg Jensen sterling silver Flatware set, 75 pieces. This set includes: 12 Dinner Size Knives, long handle, 8 7/8" 12 Dinner Size Forks, 7 1/2" 12...

A magnificent vintage Georg Jensen Sterling Silver Four Piece Tea & Coffee Set in the classic Jensen Blossom Pattern. The set includes a Teapot, a Coffee Pot, a Cream / Milk Jug & a Sugar Bowl. The Teapot, Coffee Pot & Cream Jug each have a shaped pale wooden handle. Made in Copenhagen, Denmark by Georg Jensen in c. 1945 - 77. Approx. Height Coffee Pot - 20.5cm Approx. Height Tea Pot - 13.8cm Each piece of the Tea & Coffee Set has a Jensen Silver mark. This Jensen Silver Tea Set...

Vintage sterling silver Georg Jensen cruet set in the Pyramid pattern, design #632 by Harald Nielsen from 1930. This set includes – Cruet tray #632A – 6 3/4? across the handles, 5½” in diameter (17.1cm, 14.2cm). Mustard pot #632 with blue enamel – 2½” (6.5cm) in height Salt shaker #632 – 1 3/4? (4.6cm) Pepper shaker #632 – 1 3/4? (4.6cm) Mustard spoon, silver handle, steel spoon...

Great Murano bowl acid signature, Venini Murano Italia" 3 line. This bowl was made in several finish and type of glass, bullicante, summerso, inciso, corroso, etc. Documented in Carlo Scarpa book...

An extremely large sculptural sterling silver Georg Jensen pitcher, design #1052 by Henning Koppel from 1956, this design called the “Swan” pitcher. This...

An iconic set of 12 chairs designed by Carlo Scarpa for the Auditorium in Via della Conciliazione, Rome on a project by Architect Marcello Piacentini 1950 this set from the first a...

"The superb Scandinavian Moderne ""Acanthus"" or ""Dronning"" pattern of sterling silver flatware was designed by Johan Rohde in 1917 for Georg Jensen. Johan Rohde is known for his innovative and unique style. While his patterns are elegant and classic, they are a uniqe version of Art Nouveau and still fit in well with today's world. Johan Rohde became one of the first people to work with Georg Jensen after Rohde had Jensen commission some pieces for his personal collection in 1906. Georg Jensen was impressed so much by his style that he invited him to design a collection. In his favorable Acorn pattern, you can see Rohde used decoration...

Georg Jensen Sterling Silver Serving Spoon For over a century, Georg Jensen has produced some of the finest objects in Sca...

Sterling heart ring by Georg Jensen and Henning Koppel, size 5, style #89. 10.6 grams, 1 1/4" long x 5/8" wide.

A large sterling silver Georg Jensen tray designed by Henning Koppel in 1952. A oval shaped tray with a round center. The oval edge is raised making ...

Mid-Century Modern Cypress by Georg Jensen sterling silver Flatware set, 77 pieces. This set includes: 12 Dinner Size Knives, lo...

Poliedri applique, suspension lamp and wall sconce, designed by Carlo Scarpa and manufactured by Venini, were originally designed in 1958. Indoor use only. Dimensions: Ø 81 cm, H...

An exceptional, fine and impressive vintage Danish sterling silver Cactus pattern canteen of cutlery for six persons made by Georg Jensen; an addition to our antique flatware sets The pieces of this exceptional vintage Danish silver cutlery service in sterling standard have been crafted in the Cactus (Kaktus) pattern. The upper portion of each handle is embellished with an impressive Art Deco style organic design. This canteen of cutlery consists of 48 pieces: Basic Service: 6 Table knife 6 Table fork 6 Soup spoon 6 Dessert knife 6 Dessert fork 6 Dessert spoon 6 Teaspoon Additional Pieces: Pair of serving spoons Large cream ladle Small cream ladle Sauce ladle Gravy ladle The pieces of this silver flatware set, including the original knives, have been crafted by the renowned Danish silversmith Georg Jensen; many components of this exceptional service bear the London import hallmark for 1956. This vintage canteen...

A hand blown glass globe / sphere with stunning reticello glass design, wiith brass stem and canopy. Designed by Carlo Scarpa for Venini, circa 1940. A c...

Georg Jensen Silver Hand Pierced Fruit Spoon Dated circa 1915, Pattern no 38 Made in Copenhagen,Denmark This serving piece has a lovely weight, is 3.44 troy ounces and is hand wrou...

Vintage sterling silver napkin ring in the Cactus pattern, design #81A by Gundorph Albertus. There were three sizes napkin ring pr...

“Poliedri” chandelier designed by Carlo Scarpa and produced by the Italian manufacturer Venini in, 1958. Made of opaline Murano glass. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. Only 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, he 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 which stands on the banks of the Grand Canal, 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, which are all worth mention. One of his key works, despite its relatively modest diminished proportions, was the first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly 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 to be 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 greatest ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the 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 renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider being 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 which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as 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 began work 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 8 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...

A large sterling silver decorative basket, design #235B by Georg Jensen from circa 1917. A beautiful handled basket raised on a series of limb like branches and a floral base on a ro...

Carlo Scarpa "Argo" oval table for Simon Gavina, Roman travertine, Italy, 1975. The "Argo" travertine console-table is part of the 'Ultrarazionale' ...

Soren Georg Jensen Kubus Radial teak coffee table, raised on intersecting v shaped supports made in Denmark. Søren Georg Jensen (4 October 1917 – 20 September 1982) was a Danish s...

Bernadotte sterling silver dinner service for 12. Made by Georg Jensen in Copenhagen. This set compromises 123 pcs (dimensions in inches): Forks: 12 dinner forks (8 1/8), 12 salad...

12 Light chandelier designed by Carlo Scarpa for Venini , Model 99.37 in Murano Italy. This Chandelier originally designed in 1940 was manufactured in 2009. All the pieces are in ...

A large and early rare Georg Jensen large silver Jardinière, designed by Georg Jensen in 1916. The large oval basin, decorated with floral boarders. The Handcrafted handles with pomegranate and floral leaf chasing. Overall this impressive arts and crafts piece shows signs of extraordinary handcraftsmanship. This would also be the first or one of the very first pieces to be produced in this design. The earliest Hallmarks and production of this piece possible, 1915-1919 Georg Jensen Hallmarks with Swedish import stamps, 830S. This is an extremely rare rare and large piece as well as being early and from the time of design. This large object...

A very large 159 piece set of Georg Jensen sterling silverware in the Acanthus pattern, design by Johan Rohde from 1917. Acanthus is t...

A vintage sterling silver Georg Jensen bowl, design #17A by Johan Rohde from 1912. Round footed stepped base with floral pedals holding a conical shaped bowl. Dimensions: Measures...

An early and extensive Georg Jensen Beaded silverware service, designed by Georg Jensen in 1916. This is one of the most extensive sets we have had i...

More than just a bookcase but rather a small architectural masterpiece that is the focal point of any space, the Model 795 bookshelf (sometimes called the “Serie 1935” or “Liberia 19...

Mid-Century Modern cypress by Georg Jensen sterling silver flatware set, 77 pieces. This set includes: 12 dinner size knives, lo...

Extraordinary yet elegant oak wood chairs by Carlo Scarpa. Carlo Scarpa (2 June 1906 – 28 November 1978) was an Italian architect, influenced by the...