Gio Ponti High Back Armchair, Late 1940s For Sale
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Gio Ponti High Back Armchair, Late 1940s


This high back armchair was designed by Gio Ponti for a private commission in the late 1940s. The chair is characterized by its strikingly modern lines, elegantly tapered walnut legs and generous proportions. The comfortable armchair has been fully reconditioned and newly upholstered in an ivory Dedar "Sottosopra" fabric. This luminous and sumptuous double chenille fabric has a dotted galuchat pattern which creates a subtle play of light and dark. We can provide a sample of the fabric upon request. Expertise and certificate number 17121/000 by the Gio Ponti Archives. We’re able to provide you with a competitive and non-binding shipping quote within 48 hours. Please contact us to learn more about our variety of global shipping options, including express parcel shipping, white glove service and front door delivery.


  • Condition Details
    The chair has been fully reconditioned and reupholsted in an ivory Dedar "Sottosopra" chenille fabric.
  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 42.13 in. x W 31.11 in. x D 27.17 in.

    H 107 cm x W 79 cm x D 69 cm

  • Seat height
    18.12 in. (46 cm)
  • Seller location
    The Hague, NL
  • Reference number

Shipping, Returns & Payment

  • Shipping

    Global Shipping Available

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  • Return Policy

    This item can be returned within 7 days of delivery.

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  • Online Payment Methods
    1stdibs accepts the following payment methods
  • Item Invoice
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About Gio Ponti (Designer)

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

About the Seller

5 / 5
Gold Seller
1stdibs seller since 2016
Located in The Hague, NL
You may also contact the seller by phoneCall seller through 1stdibs
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