Furniture

Gorgeously finished set of 6 dining chairs each stamped "Jansen" in cerused oak with a clear shiny gloss finish and brass embellishments. 4 side chairs & two armchairs. Upholst...

“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...

Mid-Century Modern oval travertine dining room table, model Argo. Designed in 1970 by Carlo Scarpa (1906-1978) for the "Ultrarazionale" collection, produced and sold by Cattelan Ital...

In 1921 Venini and Cappellin opened a glass factory called Vetri Soffiati Muranesi Cappellin Venini & C. on the islands of Murano, the historic glass production centre in the lagoon of Venice, Italy. With Luigi Ceresa and Emilio Hochs as investors, they arranged to purchase the recently closed Murano glass factory of Andrea Rioda, hire the former firm's glassblowers, and retain Rioda himself to serve as technical director of the venture. Venini embarked on collaborations with architects and designers such as Cini Boeri, Tomaso Buzzi, Gio Ponti, Carlo Scarpa, Ettore Sottsass, Tapio Wirkkala, Gae Aulenti, and Massimo Vignelli. The ethos was to "take the Murano tradition of glass blowing and combine it with the French fashion industry's tradition of using designers". Here you can see a small lattimo vase "a mezza filigrana" realized by Venini on Carlo Scarpa...

Table lamp in brass in the shape of a palm tree, trunk in Bamboo, the foot is in Bakelite. Wear due to time and age of the lamp post.

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...

Carlo scarpa.

Guy Lefevre for Maison Jansen French 1960 coffee table, brass frame and gold finish top.

Elegant neoclassical brass table, glass top with an aged mirror border. By Maison Jansen France 1960.

“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...

Rare, large Guy Lefèvre desk, Modèle 160, with 4 drawers for Maison Jansen 1970. Dark brown leather top. Frame, base and drawer handles in nickel-plated steel.

Elegant painted screen by Maison Jansen, made in Argentina ca' 1940's in neoclassical style. Each panel is approx. 18.5"wide and 78.75" high. When extended the screen is approx. 5 an...

Founded in 1880 by Dutch-born Jean-Henry Jansen, Maison Jansen of Paris is considered the first truly global design firm. With a sophisticated clientele around the world, the house provided design services for European royalty...

Vaso a Bollicine Carlo Scarpa Venini & C. 1932 Measures: height cm 34, diameter cm 25 XVIII Biennale di Venezia del 1932 Bibliography: Murano Mi...

Called "Poliedri" in Italian and known as "Polyhedral" in English, this design was created by Carlos Scarpa (1906-1978) for Venini when he was their art...

This stylish three piece set of brass nesting tables date to the 1970s and are attributed to Maison Jansen Note: The inset tops are clear glass with a mirror border. Note: Largest ...

Pair of Bronze and glass table lamps Maison Jansen, France, circa 1940-1950. Doesn't include lampshade.

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

Hollywood regency floral wall lamp by Maison Jansen. The flower wall lamp has a E14 light points and emits a beautiful light. It is in good condition and has been tested. The gree...

This coffee table by French design house Maison Jansen was created with beautiful brass legs, chrome strappings, typical french neoclassical pine cones, and beautiful old patina mirrors...

We are delighted to offer for sale this lovely original pair of circa 1950’s Mid Century Modern Maison Jansen Paris side end tables which are part of a suite This tables are very mu...

Large 42.5" Maison Jansen attributed brass vitrine coffee table, 1970 France Elegant 1970s french glass table with brushed brass plated steel frame and brass accents and two heavy g...

A chic pair of Maison Jansen mid-century French brass with aged mirrored top end tables, France, early 1950's.

This coffee table is made of black lacquered metal with brass horseheads, horseshoes and feet. This is a work by famous French designer Maison Jansen. Circa 1940

Model "Samo" table oval slab of clear glass on travertine frame designed by Carlo Scarpa and edited by Simon. Italy, 1970s. Particular version made with natural beige travertine, and...

If you like vintage lighting then you will love this glass sconces by Carlo Scarpa for Venini. Designed with four vertical tubes and metal centre with one E14 bulb. In full working ...

These beautiful gueridon side tables by Maison Jansen were created with typical French neoclassical style gunmetal and solid brass mix in the early 1970s. The thick round glass top i...

Neoclassical French drink table maison jansen style steel, brass & bronze hoof feet with a round sand color travertine top. The natural taupe color 1-inch...

Maison Jansen, adjustable lounge table Iconic model 'Petales'. Designed in 1972. Painted high-gloss panels, chromed metal bars. The four panels are loosened by pressing buttons and m...

American mid-century rectangular coffee table with a brass x-shaped frame with stretcher supporting a white and gray Carrara marble table top. (manner of Maison Jansen).

Ancient murrine form the pattern of a snake coiling up on glass. Conceived, redesigned and skilfully reinterpreted with rich contrasting colours, they reflect the highest craftsmansh...

Pair of Swedish Neoclassical Maison Jansen Marble-Top Console Tables, French A pair of neoclassical style marble-top console tables attributed to Maison Jansen as seen on page 201, of the Jansen Furniture book by James Archer Abbott. This piece is accompanied by a “Letter of Authentication” from James Archer Abbott, Author of 'Designing Camelot: The Kennedy White House...

Suspension lamp model “Poliedri” designed by Carlo Scarpa, edited by Venini. Composed by Murano crystal pieces over a structure made in white lacquer metal. Italy 1950. Excellent vi...

A Maison Jansen valet influenced by neoclassical themes with ram's head motif and produced in midcentury Italy. Consists of polished steel and acce...

Maison Jansen, curulle stool in steel and brass circa 1950/1960 top quality.

French Louis XVI style Maison Jansen lacquered commode. This stunning vintage French Louis XVI style Maison Jansen three drawer commode, credenz...

This neoclassical coffee table is made of silver plated metal with a black lacquered glass top. This is a French work in the style of Maison Jansen, circa 1940.

Countless Black and Coral pieces are woven together to form a symmetric yet imperfect pattern on slanted surfaces. VENINI’s glass grinding technique creates a typical shading effect ...

A burnished steel Vine wall light with foliage and black marble grapes. With two light fittings for illumination. Silver silk cord with inline switch. By Maison Jansen France. Matching table lamp...

Pair of French Neoclassical style end tables by Maison Jansen. They are made from curved brushed steel and the tops are supported by finely chiseled brass rams heads and hooves.

Countless Black and Coral pieces are woven together to form a symmetric yet imperfect pattern on slanted surfaces. VENINI’s glass grinding technique crea...

Ancient murrine form the pattern of a snake coiling up on glass. Conceived, redesigned and skilfully reinterpreted with rich contrasting colours, they reflect the highest craftsmansh...

A great Maison Jansen French Modern 3-shelf glass Etagere. Jansen French Modern three-shelf diminutive etagere with amorphous glass shelves, black and gold...

Elegant sommerso a bollicine Murano glass bowl, designed by Carlo Scarpa for Venini. Hundreds of air bubbles in the case glass form create a light-catching...

Black lacquer panel with gilt chinoiserie floral and bird motif. Maison Jansen. Mid-20th century (of that period) coffee table with 18th-century Chinese gilt lacquer panel...

A bronze and crystal Jansen six arm chandelier having overall scrolling design and two inverted domes each having two lights circa 1940.

Mid-century nickel and brass side table by Guy Lefevre for Maison Jansen, France, 1970s. Burgundy colored glass top. Unrestored vintage conditon.

This pair of two-tier end tables by French design house Maison Jansen was created with beautiful brass legs, chrome strappings, typical french neoclassical pine cones, and beautiful ...

Brass coffee or side table by Maison Jansen. Stylish Hollywood Regency two-tier coffee table by Maison Jansen. This stylish and elegant table is in great condition. Measurements:...

This 'Coclea' table (also known as Pétales) is a breathtaking and innovative solution which transforms from cocktail table to dining table with a push of a button, designed by Fabriz...

Set of 2 glass wall lamps by Carlo Scarpa for Venini, Italy, mid-century Sold and priced individually Impressive 22" wall lamps with clear textured glass and slightly yellowish gla...

Faux bamboo chrome base for this rare and elegant Maison Jansen octagonal coffee table The eight side of 18.5".

Poliedri 951.27 APPLIQUE CR Additional Information: Color: Crystal Light Source: 2 x max 8W LED E14 Finishes: Chrome metal Dimensions: W 27 x D 27 x H 39 cm.

A vintage Guy Lefevre for Maison Jansen octagonal dining table with a four sided geometric brass base. Table has a geometric concentric pattern with a...

Vintage Mid-Century Modern rocking chair for sale. Designed by Maison Jansen in the 1970's. The chrome frame has been polished and is in excellent condition. The original black vinyl...

Tall table lamp designed by Sandro Petti for Maison Jansen made of a neo classique brass base in nickel finish and a flawless lucite obelisk.

Pair Leather Campaign Folding Chairs by Maison Jansen, 1960. Original leather. One chair has a scratch on the leather in the back.

Maison Jansen, Céladon ceramic table lamp in the shape of bamboo, France, circa 1970. Measures: 20 x 20 x 61 cm. Maison Jansen is an interior design house located in Paris. It was...