Italian 1970s Chaise Longue

Italian console from the 1970s in brass with smoked glass shelves and a matching mirror. The structure features sinuous lines with curved legs supporting two dark glass shelves. The ...

This unique and particular Louis XVI style dog's bed, was produced in Italy. The wooden part is white lacquered and it is upholstered with a fine white velvet.

Italian console from the 1970s in brass with smoked glass shelves and a matching mirror. The structure features sinuous lines with curved legs supporting two dark glass shelves. The ...

This floor lamp was produced in Italy in the 1970s and it is attributable to Reggiani. It is completely made of chromed metal and has a grey marble base.

The custom made contemporary chaise lounge in the style of Juan Pablo Molyneux with an open side is upholstered with burgundy colored cotton velvet fabric and edged with a white and ...

Chaise longue sofa great rest with solid wood structure, upholstered and covered with grey velvet fabric (Cat B.). Cushion in option. Available ...

Edward Wormley for Dunbar chaise longue sofa.

Russian designer Maxim Scherbakov‘s new exhibition at Rome’s Contemporary Cluster gallery, he pushes that idea to the extreme: What if design could be all about emotion, and little else? His barely functional pieces, and his general conceit, feel uncomfortable at first — we’re not sure we want to live in a world where design is purely an aesthetic indulgence — but in an era when furniture is increasingly difficult to distinguish from art, it does feel in some ways like we already are. And the ornate backdrop of the gallery’s home, the 14th-century Palazzo Brancaccio, serves as a potent reminder that it’s possible we always have. Maxim Scherbakov, who works under the studio name Supaform, says that he developed the new collection “as a result of a careful visual search for the frontiers of comfort,” seeking to celebrate “beauty for no reason,” he says. His floor lamp has no bulb, his coffee table is too bumpy to hold a glass upright, and his desk has trick drawers and a gap in the middle where its writing surface should be. Yet his various seating elements look no less functional than, say, Rick Owens’s, and Scherbakov has a compelling raison d’etre: Also a longtime painter, he pulled all of the works directly from his canvases, making them a literal elision of the two-dimensional realm and the three. If he can celebrate fantasy and feeling in one of them, he wondered, then why not the other? This wooden sofa is a part of the 'Hidden Entourage...