Furniture

Edward Wormley Dunbar Tuxedo Sofa in Great Plains, Wool Velvet "Dreamer Marigold" Sofa was stripped down to frame with new foam and reupholstered. Dimensions: 94" length 34" deep 29"...

Architectural Dining Table - Carlo Scarpa Table - Marble Table Set of two table bases in black marble, designed by Italian architect Carlo Scarpa for Cattelan Italia. The two legs a...

Venini Murrine Romane bowl in multicolor by Carlo Scarpa. Numbered Edition. These Murrine are called “roman” due to their graphic signs and because they...

Dining table in two tone mahogany designed by Edward Wormley for Dunbar. The table starts at 66.25 inches wide and has two 24 inch leaves so at full length it is 9 1/2 feet wide. ...

Absolutely stunning Tawi wood top dining table designed by Edward Wormley and manufactured by Dunbar. Tawi is so rare it is not even listed as a choice in the "materials" section of...

Edward J Wormley has for a while worked with Jules Wabbes and le Mobilier Universel . This is the result of their collaboration : a big sofa who was sold here in Belgium by Jules Wab...

Edward Wormley for Dunbar, daybed, mahogany, fabric, metal, United States, 1950s. A daybed designed by Edward Wormley for Dunbar in mahogany. The sculpted frame shows beautiful line...

Pair of Edward Wormley Side Tables for Dunbar, c.1940, USA. The tables feature a mahogany waterfall style body with olive green leather table top that cascades down one side of each ...

A mahogany ebonized side chair by Edward Wormley for Dunbar, USA, c.1960s. The backrest has been newly caned with a newly upholstered seat cushion. Retains Dunbar brass label. Edwar...

Carlo Scarpa (1906- 1978) was an Italian architect and designer heavily influenced by the history of Venetian culture, materials and landscape. in 1926 obtained his diploma of Profes...

A vintage large drum cylindrical shaped Poliedri chandelier. Pale green, blue and clear color Poliedri glass components on one silver lacquered metal structure designed by Carlo Sc...

2 Pitchers In Sterling Silver Hand-hammered, plain body flanked by an arcuate handle and a pouring spout located at 3/4 of the body. Dimensions: Vermeil interior pitcher height 22.5...

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...

Edward Wormley Mid Century Modern for Dunbar burl wood center or cocktail round Table. A timeless 1950s mid century modern faceted burl olive wood pedesta...

Carlo Scarpa Frame Signed VENINI

Edward Wormley for Dunbar Mid Century Dining Chairs - Set of 6 Each side chairs measure: 22 wide x 20 deep x 34 high, with a seat height of 18 inches Each arm chair measures: 25 wid...

A rare Murano glass tile top game / dining table with brass edging and tapered mahogany legs. Designed by Edward Wormley for Dunbar with early green Dunbar label. This is the largest...

Faceted Pedestal Cabinet/ Dry Bar model 6302D by Edward Wormley for Dunbar, introduced in 1963, in natural olive burl with hinged door and dark mahogany interior cabinet. Includes t...

Horseshoe chair by Edward Wormley for Dunbar. Walnut & Rosewood. Original button tufted silk fabric seat cushion. Signed with DUNBAR label. This chair is meticulously crafted with b...

Gorgeous oval shaped table by Carlo Scarpa in cream travertine marble. Italy, 1970's "Argo" center or dining table designed for the Ultrazionale" collection Single pedestal with w...

A fine Italian Mid Century Modern glass "Mezza Filigrana" vanity mirror designed by, Carlo Scarpa for Venini. The mirror frame is internally decorated with pink lattice decoration an...

Iconic dining table with oval top model 'Samo' designed by Carlo Scarpa in 1970 and produced by Simon; in white saccaroid marble.

Beautiful light tan beige leather 72" 2 seater sofa. Very high quality leather upholstery with 2 seat cushions and tufted buttons on seat back and cushions. Beautiful design by Edwar...

Here is an exquisite 1950's Venetian pink and white glass bowl, made with alternating stripes of lattice criss cross zanfirico filigree stran...

Behold an exceptional treasure of design history, a vintage mid-century modern walnut dresser crafted by the iconic Edward Wormley for Dunbar, circa 1950s. This exquisite piece is an...

Pair of wall lights with four lightpoints,“Poliedri” model designed by Carlo Scarpa, edited by Venini. Composed by Murano crystal pieces over a structure made in white lacquer metal....

Rare 1950s sofa design by Edward Wormley for Dunbar featuring a beautiful exposed mahogany frame and a floating arm and back section. Showcasing Wormley's deft skill of transforming ...

A set of 8 rare dining chairs designed by Edward Wormley for Dunbar. This set features two arm or "Captain's" chairs along with 6 side chairs. Great form with a gentle curved back an...

A rare pair of petite slipper benches with Ash legs and new mohair upholstery. Designed by Edward Wormley for Dunbar.

An Edward Wormley for Dunbar round rosewood and chrome dining table with black formica top. An elegant round table designed by Edward Wormley for Dunbar. Circa 1960. Black high polis...

Postmodernist pedestal table with Carrara marble sculpture base designed by Carlo Scarpa for Cattelan in Italy, 1970s. Measurements: Diameter 117 x H 73 cm Alberto Carlo Scarpa was...

Venini “Carlo Scarpa” Poliedri Murano glass iron brass, 1960, Italy.

Pair of Scarpa Venini Poliedri wall lights, clear and amber color Poliedri glass components on white lacquered structure ca.1960 All glass components are in very good condition.

An original Edward Wormley Model 4906 sofa, made by Dunbar in the USA, 1950s. Fast shipping worldwide.

Edward Wormley Dunbar Side Table. Nice inlay and solid Brass support connections. beautifully detailed.

Glass shell with strongly iridescent surface designed by Carlo Scarpa in the 40ties. Acid signature Venini Murano Italy. Designed between 1942 and 1947 and produced before 1960.

Pair of wall sconces made of a painted metal structure from which hangs five stacks of two Murano glass blown pieces. One source of light per sconce. CARLO SCARPA (1906 – 1978) Car...

A pair of two tier end tables / nightstands by Edward Wormley for Dunbar.

Iconico tavolo modello Doge disegnato da Carlo Scarpa e prodotto da Simon a partire dal 1968. Realizzato con struttura in acciaio con distanziali in ottone e grande piano in cristall...

Scarpa Carlo design for Venini Italy in years '30 wall lamp in glass and brass in perfect condition

Edward Wormley for Dunbar Model 935 Mid Century Rosewood and Walnut Horseshoe Chairs - Set of 4 Each chair measures: 24.75 wide x 22 deep x 30.75 high, with a seat height of 19 and ...

Sculptural steel table - Carlo Scarpa dining table - Italian Collectible Design Beautiful, timeless and rare "Sarpi" dining table, designed in 1974 by architect Carlo Scarpa for Sim...

A walnut dresser with rosewood handle and brass feet. Designed by Edward Wormley for Dunbar.

Early 1940s Edward J. Wormley Elegant Neoclassical Style occasional arm chairs for Dunbar model No. 116B. As shown in "The Other Face of Modernism" book on Wormley , and in the 1940s...

Edward Wormely for Dunbar dresser, circa 1950s. Presented in mahogany, showing lovely woodgrain details. Five drawers with dovetail joints. Perfect smaller size. Leather wrapped plin...

A wonderful "Tulip" table designed by Edward Wormley for Dunbar, circa 1950s. Features a modern take on a more traditional design- in keeping with Wormley's design philosophy. A scul...

A classic parsons style dining table by Edward Wormley for Dunbar. Table has two 18" leaves. It is 66" wide without the leaves and extends to 102". Table has a highly figured burlwoo...

A beautifully restored pair of Janus slipper chairs with walnut frames and orange velvet upholstery. Designed by Edward Wormley for Dunbar.

A rare tufted ottoman on fluted rosewood legs with brass feet. Designed by Edward Wormley for Dunbar. Reupholstered in green velvet.

Edward Wormley Long John Bench by Dunbar, 1960. Bench has been completely restored. Measures 59.75" long, 18.75" deep 12" tall

Handsome even arm sofa by Edward Wormley for Dunbar with brass legs. Model 4906. This piece retains its original fun fur teddy bear fabric in usable condition. The foam in cushions ...

Edward Wormley for Dunbar Extension Dining Table. One-inch thick top with edge banding and a slight upward reveal or lip design detail shown in pictures. The table is 48" round in di...

Edward Wormley for Dunbar Mid Century Mahogany and Cane Credenza This credenza measures: 81.5 wide x 18 deep x 32 inches high All pieces of furniture can be had in what we call res...

Suspension lamp model “Poliedri” designed by Carlo Scarpa and edited by Venini. Structure made of lacquered metal composed of unique pieces in Murano glass. Italy 1950s. Carlos Scar...

Bottiglia "A Bollicine" Carlo Scapa, Venini Italy, 1930 Bottiglia Art Deco in Vetro Murano verde. Raro oggetto. Originale degli anni 30 Perfette condizioni Bibliografia: "Carlo Sc...

Suspension lamp model “Poliedri” designed by Carlo Scarpa and edited by Venini. Structure made of lacquered metal composed of unique pieces in Murano glass. Italy 1950s. Carlos Scar...

A handsome set of two arm chairs model no. 4593 and ten side chairs model no. 4592, making a full set of twelve chairs. Resigned by Edward Wormley and manufactured by Dunbar, USA. Th...

A set of four curved back dining chairs with mahogany frames. Designed by Edward Wormley for Dunbar.