Plastic Furniture

Pair of iconic Dr Glob chairs. Post modern design rendered in black molded propylene with a grey powder coated steel frame back and legs. Designed by Philippe Starck for Kartell, 1990.

Red lacquered ‘Felt’ chair designed by Marc Newson (Sydney, *1963) in 1993 for the Italian manufacturer Cappellini. The chair features a reinforced fiberglass shell and an aluminum s...

Table lamp model Tikal 1555 designed by Pier Giuseppe Ramella for Arteluce. Elegant table lamp model Tikal 1555, the name and shape recall the Mayan culture. The lamp has a swivel ...

Hello 1980’s Art Deco at its finest. This fantastic faceless clock in tessellated stone and black marble is timeless (no pun intended). There is a black arched inlay in the stone. ...

Rare vintage Memphis style French bar stools by Miriam, circa 1990s. Recently reupholstered with a faux velvet, and in very good condition. 42.5” H x 18” W x 17” D Sea height, 31.5”

A vintage Coastal Original Lithograph on paper. Printed by PacePrints and tagged on the back. A monumental octopus composition in a graphic design. Acquired from a Palm Beach estate.

Art Yaacov Agam Signed and numbered 25/27 from the Meissner Galerie in Hamburg Measurements: H 33 x W 23 x D 4 cm. Agam's first solo exhibition was at the ...

Introducing the Mid-Century Modern Acrylic and Brass Wall Unit Etagere, a stunning piece of furniture designed by renowned designer Charles Hollis Jones, made in the USA circa 1970’s...

H.T.Huang Tble Lamp Toucan 1990s

Gorgeous table lamp made of a metal base with brass finish in the typical style of the Italian 70s. Made by Lampter Milano (see label) The square lampshade is made of opaline white p...

Based on the French Bistro Stacking Chair. Pierre Paulin, the great French designer of modern seating icons, created a series of plastic stacking chairs for Henry Massonnet 1988, o...

Exceptional Mid-Century Modern Hollywood Regency style magazine rack or stand. In the style of Paul Evans. The magazine holder is executed brass and aluminum sheet with black plasti...

Mario Bellini "Camaleonda" modular sofa for B&B Italia, Italy, 1970, four elements. "Camaleonda" is an icon, rediscovered. A special project made possible this limited edition of "...

Togo sofa by Michel Ducaroy for Ligne Roset. Togo was designed in 1973. Four pieces set: three seater, one seater, corner a...

This sofa was designed by Michel Ducaroy for Ligne Roset in the 70’s. He devoted 26 years of his life to the head of Ligne Roset’s design department. It was in 1973 that he designed ...

Dino Gavina began his activity as early as the 1940s with objects for theater sets, his great passion. Convinced of the need for design that was modern but also rich in poetry, he gr...

Elegant Mid-century sideboard made out of walnut wood. It has 3 doors with lots of storage space. Sideboard is elevated by 4 legs made out of bakelite with brass tips. Condition is...

Very rare to find model of sectional sofa by Roche Bobois, made in France in the 1980s. Called "Super Lounge", this is a one-of-a-kind sectional sofa composed of 12 units that can be arranged as you wish, like the Mah Jong sofa from the same manufacturer. 4 folding backrest...

Ernesto Gismondi for Artemide, multi-way clamp lamp, model 'Sintesi Faretto Morsetto', second edition, coated iron, coated steel, aluminum, rubber, plastic, Italy, 1976 The founder ...

The rare and large Verner Panton VP Europa table lamp from 1970s is a piece of design history that seamlessly marries form and function. Its opaline glass sh...

Lorenzo Carmellini & Enrico Tronconi for Tronconi, 'Il Personaggi' floor lamp, acrylic, Italy, 1972. This Post Modern floor lamp is designed by Italian designer duo Lorenzo Carmel...

Camaleonda sofa, designed by Mario Bellini and manufactured by B&B Italia in 1972. The set features two big modules with two backrests and one armrest. Green linen velvet upholster...

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...

Turtle scale pattern top Maison Mercier 1970 in plexiglass (lucite). Golden brass gallery.

A pair of Cuingam lounge chairs designed by Jonathan De Pas, Donato D’Urbino and Paolo Lomazzi for BBB Bonacina in 1976. These stately chairs retain their original cognac leather with ruched detailing. Imprinted ‘BBB Cuingam Modello Depositato Meda Italy’ on acrylic base. Sourced in Italy, 1970s. Jonathan De Pas (1932-1991), Donato D’Urbino (1935-) and Paolo Lomazzi (1936-) are Italian designers who began working together in 1966. They are best known for their unconventional pop art designs, many of which are in the permanent collections of the Museum of Modern Art in New York and the Centre Pompidou in Paris, among others. Their most iconic pieces include the Joe Sofa, 1970 and the “Blow” armchair...

Extremely chic and versatile. This pair of fully leather-wrapped Italian corner chairs / armchairs by Antonio Citterio for B&B Italia can be positioned in a myriad of arrangements, i...

Jean Sanglar was born in France in 1926. He draws with taste and talent from an early age, however, his family will only consider this a mere hobby. After studying law, he later took...

Large half bowl wall sconces designed by Tobia Scarpa for Flos, in nickel-plated steel and Lucite lens reflector. Six available. Avantgarden Ltd. cultivates unexpected and exceptional lighting, furniture and design. To view items in person please visit our showroom in Pound Ridge...

Pair of squared picture frames in lucite and rattan in the style of Christian Dior. Made in Italy in the 1970s. The circular lucite photo holder has a ...

Designed by Olaf Von Bohr and meticulously manufactured by Kartell, this versatile sideboard or shoe cabinet, model 4963, is a masterpiece of avant-garde vintage design. The rectangu...

Immerse yourself in the charm of vintage Italian design with this exquisite Wall Mirror crafted in the 70s. The curved round frame, made of moulded plastic in a beautiful turquoise b...

Pair of Post modern bar stools in white enameled metal with spaghetti corded seats designed by Giandomenico Belotti for fly line. good condition. Located in Brooklyn NYC Dimensions...

Orologio da parete, con disegno geometrico e grafico con colori primari, nero e grigio. Prodotto da Morphos nel 1980 ca. e disegnato da Kurt B. Delb...

Hand blown organically shaped free-form bowl in bubble glass. Decorated with flowers in Italian tri-color: red, green and white. It was made in Murano Italy circa 1960-70. Measuremen...

Anfibio sofa-bed by Alessandro Becchi for Giovannetti, 1972. Fully restored and upholstered with high-quality black Italian natural leather. Mattress upholstered with soft sheepski...

Gaetano Pesce ''Big Mama'' lounge chair and ottoman, serie UP 5/6, 1970s, B&B Italia.

Iconic “Planta” coat rack designed by Giancarlo Piretti for Anonima Castelli,Italy 1972. Made from beige ABS plastic featuring six fold down segments ...

This is a chance to decorate your house, office (or music studio!) with something truly unique. A complete collection of 27 original boomboxes from the 19...

Italian white night stands Componibili Anna Castelli Ferrieri for Kartell, 1970s Bedside tables mod. Componibili with a round base. The structure is cylindrical, has three drawers wi...

Patrick Antonell is an American Impressionist. Painting is Acrylic and in a 24 karat gold leaf closed corner frame 28" wide by 22" tall as framed. Name of this Painting is believed t...

Large fully adjustable accordion wall lamp in yellow lacquered steel. Parts in chromed metal and adjustment handles in black plastic. Large white opaline ball and brushed aluminium lampshade. Design: Ramon...

This small night Stand is made of lucite. The valet is adjustable. This is a French work. Circa 1970.

Wicker Works Braided Rattan Club Chairs, New Upholstery, 1 Pair Available Offered is one pair of Wicker Works braided rattan club chairs which have been newly upholstered. These wonderful coastal chic...

Set of four, colorful, modern, outdoor lounge chairs by Dutch designer Monika Mulder for Ikea circa 1990's are fuild, raspberry pink rattan, woven plastic...

A unique book first edition print set on a circular format retains its original case.

Red Boby Trolley 3. This portable storage system was designed by Joe Colombo and produced by Bieffeplast in Padova, Italy in 1969. In Colombo’s vision, people needed efficient living...

Mario Bellini Cassina Cab 413 Burgundy Red Leather Dining Chairs, 1980 for Cassina- Two chairs available and sold as a pair. We have a set of...

Amazing pair of large ceramic table lamps. Each feature a pink wash over a ribbed body with a lucite disk beneath and above the ceramic.

Stunning space age 1970s coffee table in smoked glass and plexiglass with a beautiful Murano blown glass ball that lights up creating an incredible optical effect.

Maison Mercier Paris folding table in tortoise shell lucite and brass, 1970 Very good condition 55 x 44 x 6 cm

Murano glass ceiling pendant by Leucos. Made in Italy in 1970s. Handblown glass. Rewired for US. Takes one medium base bulb. Overall drop is adjustable, can be shorter. 2 ceiling pen...

Chess game by Michel Dumas. Located in NYC

Anfibio Sofa by Alessandro Becchi for Giovannetti Collezioni 1970s, Italy. This sofa can be anything you need. It can be transformed...

Mario Bellini "Camaleonda" modular sofa for B&B Italia, brown mohair, Italy, 1970, five elements. "Camaleonda" is an icon, rediscovered. First designed in 1970 by Mario Bellini, it ...

Unusual set of Ostergaard polyethylene in lacquered metallic color made by rotational molding fixed (indoor/outdoor use) chairs with new seats made of geometric woven jacquard textil...

This stunning Modular sectional leather sofa is manufactured in Germany. It is a high quality manufactured seating group. The producer is yet unknown. It is a pure 70ties design w...

Group lot of four Alexis Bittar brooches, one daisy with gold-tone metal stem, one frosted pink lucite flower pin, one fuschia flower mounted with orange gemstones, and one black luc...

New Stock ✅ Timothy Oulton Reggio Halo 3 Seater Sofa Leather Sofa The retro-styled look of the Reggio sofa is inspired by the clean, streamlined forms of Danish mid-century design ...