Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 21

Carlo Scarpa Iroko and Velvet Cornaro Sofa for Studio Simon, 1974, Set of 2

About the Item

Set of 2 Cornaro two-seater sofas, 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 in the following year. From 1974-75 saw the arrival of the bookcase “Rialto” and the “Delfi” table, which resulted from an unusual pairing of Carlo Scarpa with Marcel Breuer, one of the greatest twentieth-century furniture designers.
  • Creator:
    Studio Simon (Manufacturer),Carlo Scarpa (Designer)
  • Dimensions:
    Height: 25.6 in (65 cm)Width: 86.62 in (220 cm)Depth: 34.26 in (87 cm)Seat Height: 16.54 in (42 cm)
  • Sold As:
    Set of 2
  • Style:
    Mid-Century Modern (Of the Period)
  • Materials and Techniques:
  • Place of Origin:
  • Period:
  • Date of Manufacture:
    1974
  • Condition:
    Minor fading.
  • Seller Location:
    Vicenza, IT
  • Reference Number:
    1stDibs: LU8019236384232
More From This SellerView All
  • Carlo Scarpa Iroko Wood and Green Velvet Cornaro Sofa for Studio Simon, 1974
    By Studio Simon, Carlo Scarpa
    Located in Vicenza, IT
    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...
    Category

    Vintage 1970s Italian Mid-Century Modern Living Room Sets

    Materials

    Velvet, Foam, Chenille, Wood

  • Kazuhide Takahama White Velvet “Mantilla” Two-Seater Sofa for Studio Simon, 1973
    By Kazuhide Takahama, Studio Simon
    Located in Vicenza, IT
    Two-seater “Mantilla” sofa, designed by Kazuhide Takahama for Studio Simon in 1973. It is made of wood and polyurethane foam structure, with white velvet upholstery. Kazuhide T...
    Category

    Vintage 1970s Italian Mid-Century Modern Sofas

    Materials

    Cotton, Velvet, Foam

  • Studio Simon Black Wood and Azure Velvet Two-Seater “Simone” Sofa, Italy, 1975
    By Studio Simon
    Located in Vicenza, IT
    Two-seater “Simone” sofa, designed and manufactured by Studio Simon in 1975. The structure is made of black lacquered wood. An azure velvet big seat completes the sofa. The min...
    Category

    Vintage 1970s Italian Mid-Century Modern Sofas

    Materials

    Cotton, Velvet, Foam

  • Studio Simon Minimalist Black Leather Three-Seater “Simone” Sofa, Italy, 1975
    By Studio Simon
    Located in Vicenza, IT
    Three-seater “Simone” sofa, designed and manufactured by Studio Simon in 1975. The structure is made of black lacquered wood. A black leather big seat completes the sofa. The m...
    Category

    Vintage 1970s Italian Mid-Century Modern Sofas

    Materials

    Leather, Beech, Foam

  • Afra and Tobia Scarpa Brown Velvet Soriana Living Room Set for Cassina, 1969
    By Cassina, Afra & Tobia Scarpa
    Located in Vicenza, IT
    Soriana living room set, designed by Afra and Tobia Scarpa, and produced by the Italian manufacturer Cassina in 1969. The set is composed of a three-seater sofa, a lounge chair and a...
    Category

    Vintage 1960s Italian Space Age Sofas

    Materials

    Chrome

  • Carlo Scarpa & Marcel Breuer Naxos Marble “Delfi” Table for Studio Simon, 1969
    By Studio Simon, Marcel Breuer, Carlo Scarpa
    Located in Vicenza, IT
    Delfi” dining table, designed by Carlo Scarpa and Marcel Breuer and produced by the Italian manufacturer Studio Simon in 1969. Made of white Nax...
    Category

    Vintage 1960s Italian Mid-Century Modern Dining Room Tables

    Materials

    Marble

You May Also Like
  • Cornaro sofa by Carlo Scarpa for Simon Gavina, Italy 1973
    By Simon Gavina Editions, Carlo Scarpa
    Located in Rotterdam, NL
    Cornaro sofa by Carlo Scarpa for Simon Gavina, Italy 1973. Stunning solid round dark stained Mahogany wooden frame and thick upholstered cushions. The cushions are reupholstered in a...
    Category

    Vintage 1970s Italian Mid-Century Modern Sofas

    Materials

    Linen, Mahogany

  • Rare "Cornaro 220" Sofa by Carlo Scarpa for Simon International, 1970s
    By Carlo Scarpa
    Located in Skokie, IL
    Carlo Scarpa rare "Cornaro 220" Sofa by for Simon International, Italy, 1970s Additional Information: Materials: Stained mahogany, velvet, brass, leather Dimensions: 26" H x 119...
    Category

    20th Century Italian Mid-Century Modern Sofas

    Materials

    Mahogany

  • Cornaro 300 Sofa by Carlo Scarpa in Green Chenille Velvet
    By Carlo Scarpa
    Located in Ozzano Dell'emilia, IT
    Cornaro 300 sofa designed by Carlo Scarpa. Solid hardwood structure (iroko). Polyurethane padding. Upholstery in original chenille velvet. The one-uni...
    Category

    Vintage 1970s Italian Mid-Century Modern Sofas

    Materials

    Velvet, Wood

  • Carlo Scarpa Cornaro sofa for Gavina, Italy 1970s
    By Tobia Scarpa, Gavina
    Located in London, GB
    Carlo Scarpa (1906-1978) was an architect who mastered materials, detail, and light. He is most famous for Castelvecchio Museum in Verona, the Olivetti showroom in Venice and the Brion Tomb in San Vito d’Altivole. The Cornaro sofa embodies the intentions of its designer to combine Japanese minimalism...
    Category

    Vintage 1970s Italian Modern Sofas

    Materials

    Mohair, Wood

  • Carlo Scarpa Cornaro Loveseat / Armchair, Original Fabric, Italy, 1970s
    By Carlo Scarpa
    Located in London, GB
    An original Carlo Scarpa Cornaro loveseat / armchair, original fabric, Italy. Produced by Gavina in the 1970s. We can reupholster in COM at additional cost. Fast shipping worldwide. ...
    Category

    Mid-20th Century Italian Mid-Century Modern Sofas

    Materials

    Chrome

  • Afra & Tobia Scarpa “Soriana” Sofa for Cassina, 1969
    By Cassina, Afra & Tobia Scarpa
    Located in Lonigo, Veneto
    Afra & Tobia Scarpa “Soriana” three-seater sofa for Cassina, original brown leather and chromed steel, Italy, 1969. Although technically designed in the 1960s, the "Soriana" model b...
    Category

    Vintage 1960s Italian Mid-Century Modern Living Room Sets

    Materials

    Chrome

Recently Viewed

View All