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Gio Ponti ''Ninfea'' Chairs, 1958, Published with Certificate from Ponti Archive


Beautiful pair of 1958 Gio Ponti "Ninfea Pieghevole" folding lounge chairs finished in italian walnut with the original red fabric. This pair come with a hand signed certificate from Salvatore Licitra, grandson of Gio Ponti and chairman of the Gio Ponti archive in Milan. This design is documented at the Gio Ponti archive in Milan and was published in the italian "Novita" design publication in May 1958 where it also declares the designer as Gio Ponti (please see image 2). We also have an original photo of Gio Ponti's grandson Salvatore Licitra sitting in a pair of these chair in green fabric which we sold several years ago. Artbrokerdesign was the first to discover this design was by Gio Ponti and had it archived at the Gio Ponti archive in Milan. Brevetti Reguitti produced this design with three upholstery options, a leather sling seat, in fabric or in wicker. Each chair is signed with original factory impressed marks "Brevetti Reguitti Made in Italy." (please see image 6). Literature: "Novita," May 1958, unpaginated (please see image 2). "Il Mobile Italiano Degli Anni '40 e '50" de Guttry and Maino, pg. 46.


  • Period
  • Materials and techniques
  • Condition
    Good. Good original vintage condition with minor wear consistent with age and use, original fabric.
  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 27.96 in. x W 19.3 in. x D 31.89 in.

    H 71 cm x W 49 cm x D 81 cm

  • Seat height
    13.78 in. (35 cm)
  • Seller location
    bergen op zoom, NL
  • Sold As
    Set of 2
  • Reference number

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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.

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