Pair of Gio Ponti Candelabra Fleche Lamps

An architect, furniture and industrial designer and editor, Gio Ponti was arguably the most influential figure in 20th-century Italian modernism.

Ponti (1891–1979) designed thousands of furnishings and products — from cabinets, lamps and chairs to ceramics and coffeemakers — and his buildings, including the brawny Pirelli Tower (1956) in his native Milan, and the castle-like Denver Art Museum (1971), were erected in 14 countries. Through Domus, the magazine he founded in 1928, Ponti brought attention to virtually every significant movement and creator in the spheres of modern art and design.

The questing intelligence Ponti brought to Domus is reflected in his work: as protean as he was prolific, Ponti’s style can’t be pegged to a specific genre. In the 1920s, as artistic director for the Tuscan porcelain maker Richard Ginori, he fused old and new; his ceramic forms were modern, but decorated with motifs from Roman antiquity. In pre-war Italy, modernist design was encouraged, and after the conflict, Ponti — along with designers such as Carlo Mollino, Franco Albini, Marco Zanuso — found a receptive audience for their novel, idiosyncratic work. Ponti’s typical furniture forms from the period, such as the wedge-shaped Distex chair, are simple, gently angular, and colorful; equally elegant and functional. In the 1960s and ’70s, Ponti’s style evolved again as he explored biomorphic shapes, and embraced the expressive, experimental designs of Ettore Sottsass Jr., Joe Colombo and others.

His signature furniture piece — the one by which he is represented in the collections of the Museum of Modern Art in New York, Germany’s Vitra Design Museum and elsewhere — is the sleek Superleggera chair, produced by Cassina starting in 1957. (The name translates as “superlightweight” — advertisements featured a model lifting it with one finger.) Ponti had a playful side, best shown in a collaboration he began in the late 1940s with the graphic artist Piero Fornasetti. Ponti furnishings were decorated with bright finishes and Fornasetti's whimsical lithographic transfer prints of things such as butterflies, birds or flowers; the Montreal Museum of Fine Arts possesses a 1950 secretary from their Architetturra series, which feature case pieces covered in images of building interiors and facades. The grandest project Ponti and Fornasetti undertook, however, lies on the floor of the Atlantic Ocean: the interiors of the luxury liner Andrea Doria, which sank in 1956.

Widely praised retrospectives at the Queens Museum of Art in 2001 and at the Design Museum London in 2002 sparked a renewed interest in Ponti among modern design aficionados. (Marco Romanelli’s monograph written for the London show, offers a fine overview of Ponti’s work.) Today, a wide array of Ponti’s designs are snapped up by savvy collectors who want to give their homes a touch of Italian panache and effortless chic.

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Although he started his career as a jeweler in 1830 — after apprenticing with his copper jeweler brother-in-law years earlier — Charles Christofle (1805–63) recognized that Second Empire France had an untapped audience for luxury silverware and tableware.

Gold and silver gilt had been the high-end standard in the 18th century, yet society after the Industrial Revolution demanded a more affordable, but still refined, approach. So in the 1840s, Christofle cornered the market on electrolytic gilding and silver plating, dominating the hold on patents in the country for over a decade. His work soon attracted the attention of Louis-Philippe I and then Napoleon III, under whom he was named Fournisseur de l’Empereur, cementing the prestige of his brand.

While Christofle created decadent centerpieces and tableware for the French palaces — as well as prominent clients like the Orient Express — the company’s electroplating of silverware that was far less expensive than that made by silversmiths attained widespread popularity. At a time when many who could not afford gold or silver still used wooden utensils, Christofle was a game changer for at-home dining. An appearance at the 1893 World’s Columbian Exposition in Chicago furthered the company’s reach to American consumers who would soon rival the manufacturer’s European clientele.

The 20th century saw Christofle adapting to changing tastes in its offerings, such as the Aria collection, which debuted in 1985 with column-like lines on its flatware designed by Bernard Yot, and the playful egg-shaped silverware container introduced in 2015 that opens to reveal a full flatware set. The company also now sells barware, home accessories and even jewelry, harkening back to its roots. Now almost two centuries old, Christofle maintains its reputation as a leading flatware and silverware company under the ownership of the Chalhoub group, its utensils gracing tables in homes, hotels and restaurants all over the world.

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