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Massimo and Lella Vignelli for Poltronova 'Saratoga' Cabinet
- DimensionsHeight: 23.63 in (60 cm)Width: 35.44 in (90 cm)Depth: 35.44 in (90 cm)
- StyleMid-Century Modern (Of the Period)
- Materials and Techniques
- Place of Origin
- Date of Manufacture1960s
- ConditionWear consistent with age and use. Every item Morentz offers is checked by our team of 30 craftsmen in our in-house workshop. Special restoration or reupholstery requests can be done. We guarantee a very high-quality standard, ask our design specialists for detailed information.
- Seller LocationWaalwijk, NL
- Reference NumberSeller: 450119601stDibs: LU933127815292
Shipping & Returns
- ShippingRetrieving quote...Ships From: Waalwijk, Netherlands
- Return Policy
A return for this item may be initiated within 10 days of delivery.
About the Designer
Massimo and Lella Vignelli
Massimo Vignelli and Lella Vignelli’s legacy can be seen everywhere in the logos of Bloomingdale’s, Ford and American Airlines, among others. In addition to their work in branding, they were prolific creators of modernist home furnishings, products and interiors, and the duo’s collaborations, which span 50 years, have left a profound mark on design and wider visual culture.
After meeting in Italy, Lella (1934–2016) and Massimo (1931–2014) began working together in 1961 and a decade later formed Vignelli Associates in New York. A self-described “information architect,” Massimo was committed to streamlining complex ideas into clear, visually arresting forms. (Witness the graphic identity that he cocreated with Bob Noorda for the New York City Transit Authority as well as his influential 1972 subway map.) The Vignellis’ most recognizable piece, for example, may be the Handkerchief chair, a stackable office chair made of compression-molded plastic that has the look of a cloth floating in air. It was created for Knoll in 1983 after they designed the brand’s logo.
Evidence of the couple’s influence can also be found in their Saratoga line (1964), the first collection of lacquered furniture, which helped herald in the trendy “glossy” look of the decade (and beyond). When the Vignellis created the Poltrona Frau Interview chair in 1988 for an Italian television station, it became widely sought after, “which goes to show you the power of the TV media,” the couple once said. Much like their elemental graphic designs, the Kono (1984) and Pisa tables (1985) — both created for Casigliani — cull the form of the table down to geometric shapes.
Vignelli furniture is often labeled as Massimo Vignelli’s alone, though he fought to have Lella recognized for her work, even throwing away magazines that neglected to give her due credit. As he wrote of their lifelong collaboration in his book Designed By: Lella Vignelli: “It is not holding a pencil with four hands that makes a partnership; it is sharing the creative act and exercising creative criticism which is reflected in the end result.”
Established in 2006, Morentz has a team of approximately 55 restorers, upholsterers, interior advisers and art historians, making it a gallery, workshop and upholstery studio, all in one. Every day, a carefully selected array of 20th-century furniture arrives from all over the world at the firm’s warehouse, where the team thoroughly examines each piece to determine what, if any, work needs to be done. Whether that means new upholstery or a complete restoration, Morentz's aim is always to honor the designer’s intention while fulfilling the wishes of the client. The team is up to any challenge, from restoring a single piece to its original glory to furnishing a large-scale hotel project.
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