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Molteni&C D.235.2 Montecatini Dining or Studio Chair in Leather by Gio Ponti

$2,110per item

About

Part of the Molteni&C Heritage Collection, this dining or office chair is a re-make of the D.235.2 designed initially in 1935 by Gio Ponti for the first Montecatini building at Largo Donegani in Milan. For their residence he designed everything, architecture and furnishings: desks, chairs, lamps and wardrobes. With the approval of the Ponti heirs, in 2014 Molteni is reworking the Montecatini chair, with a seat and seatback covered in hide leather, following the all-aluminium version. Additional Information: Dimensions: D. 50.7 x W. 51.6 x H. 86.6 cm Seat height: 44.6 cm Available finish: Natural, black, dark brown, white, ivory, dove grey, red, hazelnut, tobacco, hunter green, mud green, and almond

Customization Options

Available also with seat and backrest covered in hide leather version from the Molteni hide leather range: natural, black, dark brown, white, ivory, dove grey, red, hazelnut, tobacco, hunter green, mud green, almond.

Details

Shipping & Returns

  • Shipping
    Rates vary by destination and complexity. We recommend this shipping type based on item size, type and fragility.
    Ships From: Bayonne , NJ
  • Return Policy

    This item cannot be returned.

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About the Designer

Gio Ponti

An architect, furniture and industrial designer and editor, Giò 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 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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