Italian Glass and Mirror Credenza

An Italian burl elm chrome brass and chrome credenza by Willy Rizzo, circa 1968.

Italian Gio Ponti inspired walnut six-drawer credenza with double pull bronze hardware, circa 1950.

A beautiful and stately Louis XVI style gessoed and polychromed bookcase made with 18th century architectural fragments.

Pair of Art Deco style lacquered console cabinets each featuring demi shape, two doors, shelf and single drawer.

A richly colored, hand painted, polychrome 18th century Italian two door cabinet.

A glorious and magnificent 18th Century Italian collectors cabinet architecturally styled with pediment, columns and finials. This extremely fine cabinet features Florentine inlay de...

Typical Vittorio Dassi credenza with its futuristic shapes and shiny appearance. Some sort of spaceship but then with mirror to see how beautiful you are. Shiny, outspoken and luxurious all resting on bended ballerina legs (with brass feet) that are in a slightly different color than the credenza: a bit more towards the red / purple while the other wood is brown and black. The top of the credenza is made of glass with underneath very slight pink paper...

Large Vittorio Dassi Credenza in Wood, Glass and Brass from Italy, ca the 1950s. This is a true eye-catcher. It has five doors with shelves behind it and three original keys availabl...

Paolo Buffa (1903-1970) architect, designer Paolo Buffa was the son of artist Giovanni Buffa, long-considered a modern innovator of early 20th centu...

This stunning vintage modern credenza features ample room behind its four cabinet doors. A mirrored front and top makes this a unique addition...

Paolo Buffa (1903-1970) architect, designer Paolo Buffa was the son of artist Giovanni Buffa, long-considered a modern innovator of early 20th century applied arts. The elder Buffa was renowned for his studio works in stained glass, often collaborating with Eugenio Quarti and other important architects. After graduating in 1927 from Politecnico di Milano, Paolo began training in the studio of Gio Ponti and Emilio Lancia. The following year he opened his own studio with the architect Cassi Ramelli, designing private villas and residential buildings with a strong focus on fine furniture done in the neoclassical style of the Milanese School and its luminaries: Ponti, Lancia, Buzzi, Marellin, and Albini. His designs (which included lighting and textiles) were characterized by perfect execution, for homes of the wealthy middle class with a taste for modern design, that blended functionality and comfort with quality materials. His pieces were primarily executed by the highly skilled artisans of the Mario Quarti studio in Milan, by Serafino Arrighi, and later by the Angelo Marelli workshop. In 1930 Buffa and Cassi Remelli participated in The International Exhibition of Decorative Arts,which would later become the Triennale di Milano. At this time he also began his first collaboration with Gio Ponti's Domus magazine, to which he would contribute many writings in the years to follow. The 1933 Triennale, "Mostra dell Arredamento," presented a solo exhibition on Buffa, as well as a group show that featured his textile designs alongside works by Buzzi, Albini, and Pollini in the display hall of the government institution National Crafts and Small Industries (ENAPI). By the time of his participation in the 1936 VI Triennale, Buffa was considered one of the elite arbiters of modern taste and style. The painter Roberto Aloi, director of “L’Arredamento Modern” (the Hoepli periodic review of modern design) dedicated more space to Buffa in his publication than to any other Italian architect in future editions. 1940 saw an intense collaboration with the acclaimed Mario Quarti furniture studio in Milan, in which Buffa created the furnishings for the Royal Palace of King Zog, in Tirana, Albania. In 1945 Ico Parisi organized the exhibition "Prima Mostra dell Arredamento" in Como. Together he and Buffa designed 12 environments, displayed as real rooms in a home. The following year the show travelled to Milan as “Mostra Mercato per la Reconstruzione” (Exhibition of Reconstruction). In addition to Buffa and Parisi, among the participants were Cassi Ramelli, Gio Ponti, and Guillermo Ulrich, all working under an objective to foster a profound collaboration between architect and expert craftsman. In 1947 Buffa was invited by esteemed textile designer Fede Cheti to participate in the exhibition “Lo Stile nell Arredamento Moderno” (The Style of Modern Furniture), celebrating the rebirth of quality execution and technical perfection in the reinvention of classic Italian furniture...

Mid-century design Italian credenza, circa 1950s. Lacquered white wooden cabinet with four wooden drawers and inlaid glass top.