Items Similar to Franco Albini Rosewood Mid-Century Modern “LB7” Modular Bookcase for Poggi, 1957

LB7 Bookshelves, Franco Albini for Poggi, 1960

Franco Albini Modular bookcase model “LB7” Production Poggi Pavia 1957

Franco Albini LB7 Bookcase in Teak Wood by Poggi Pavia 1950s Italy

Joaquim Tenreiro Bookshelf, Rosewood Veneers, Brazilian Mid-Century Modern, 1950

Modular teak bookcase by Leonardo Fiori, produced by Isa, 1960s, Italy

"LB2" Bookcase by Ignazio Gardella, Italy, 1950s

Want more images or videos?

Request additional images or videos from the seller

1 of 6

Franco Albini Rosewood Mid-Century Modern “LB7” Modular Bookcase for Poggi, 1957

$32,155.50

£23,944.02

€27,000

CA$44,046.61

A$49,116.95

CHF 25,627.13

MX$602,683.55

NOK 326,192.58

SEK 309,060.38

DKK 205,541.20

Shipping

Retrieving quote...

The 1stDibs Promise:

Authenticity Guarantee,

Money-Back Guarantee,

24-Hour Cancellation

About the Item

LB7 bookcase, designed by Franco Albini and manufactured by Poggi in 1957. Modular bookstore composed by upholds, containers with flying and doors, shelve. The industrial standard for every product component allows permanent and different solutions, from the bearing structures to the elements. The structure does not need anchorages to the wall and can be placed in the middle of the space. This set is composed of 3 modules, ten shelves, and three containers. It is made of Rosewood, iron, and brass. Excellent vintage condition. Franco Albini was born in Robbiate in 1905, and after his childhood and part of his youth, he moved to Milan. He graduated at Politecnico of Milan, Faculty of Architecture, in 1929, and He collaborated for three years in Giò Ponti and Emilio Lancia’s office. He probably had his international contacts here, at The International Exposition of 1929 in Barcelona and Paris, where he visited le Corbusier’s office, as Franca Helg used to tell. Throughout these first three years, his works were undoubtedly related to XIXth Century. His meeting with Edoardo Persico marks an evident turnover towards rationalism and writers for “Casabella” magazine. Persico’s thoughtful and ironical comments on some of Albini’s drawings for office furniture caused him deep upsetting. “I spent days of real anxiety – tells Albini – I had to answer all questions. I had a long fever”. The new phase that the meeting provoked begins with opening his own first office at Via Panizza with Renato Camus and Giancarlo Palanti. The group of Architects starts taking care of social housing, participating in the competition for the Baracca neighborhood in 1932, and then realizing the Ifacp neighborhood: Fabio Filzi (1936/38), Gabriele D’Annunzio, and Ettore Ponti (1939). During those years, He also worked for his first private villa (Pestarini). It is mainly in the context of exhibitions that the Italian architect experiments the compromise between rigor and poetic fantasy that Pagano was talking about; He conceived all the elements that would become recurrent in all types of his work – Architecture, Interiors, Design. The 1933 opening of the new Triennale of Milano, in Palazzo dell’Arte, becomes an occasion to express the highly innovative character of rationalist thinking. In this place, to experiment with new materials and solutions, but most of all a “method”. Young rationalist architects cultivated the art of exhibiting as a communication lab, an open field to space solutions. Albini, with Giancarlo Palanti, sets the steel structure house (with R. Camus, G. Mazzoleni, G. Minoletti and coordination by G. Pagano) designing also its furniture. For the next Triennale in 1936, marked by Persico’s early death, Franco Albini, together with a group of young architects around Pagano, takes care of the exhibition of Dwelling, where he presented 3 types of lodgings. In the same year, Albini and Romano design the exhibition for Ancient Italian jewelry: vertical uprights, simple linear poles design space. This element is recurring in other works, like the Scipione exhibition (1941), Vanzetti stand (1942), and Olivetti shop in Paris (1956). The architectural space is readable through a grid, introducing a third dimension, the vertical one, with a sense of lightness and transparency. Upright is also used in design objects, such as the Veliero bookcase in 1940 and the LB7 bookcase, produced by Poggi in the Fifties. As an evolution of the vertical upright, disassembling and reassembling architectural parts and use of module represents the elements of a method that simplifies complex things to the essential nucleus. Franco Albini is a complete designer whose work includes Architecture, exhibitions, urban planning, and object design. Among his masterpieces are museums in Genova, Pirovano mountain hut in Cervinia, Rinascente in Rome, subway stations in Milan, inspiring the subway lines of S.Paulo do Brasil and New York.

Creator:
Poggi (Manufacturer),Franco Albini (Designer)
Design:
LB7 Bookcase
Dimensions:
Height: 109.45 in (278 cm)Width: 104.34 in (265 cm)Depth: 13.78 in (35 cm)
Style:
Mid-Century Modern (Of the Period)
Materials and Techniques:
Brass,Iron,Rosewood
Place of Origin:
Italy
Period:
1950-1959
Date of Manufacture:
1957
Condition:
Minor fading.
Seller Location:
Vicenza, IT
Reference Number:
1stDibs: LU8019232897372

Shop All Franco Albini

Franco Albini

While working under the polymath Gio Ponti — arguably the most important figure in 20th-century Italian modernism — furniture designer Franco Albini nurtured a love for modern forms combined with traditional craft techniques.

Albini is widely known for working with organic materials such as rattan and cane for his chairs and other seating, but he also played a pivotal role in the Italian rationalist movement of the early 20th century, which saw architects and furniture makers applying a strict emphasis on geometry in their work. Rationalists drew on Ancient Roman architecture but rejected ornament, much in the way that Le Corbusier and celebrated Bauhaus figures such as Ludwig Mies van der Rohe had in their modernist furniture.

Albini received his degree in architecture from the Polytechnic University of Milan in 1929, and, in 1931, he founded his practice in Milan, where he tackled workers’ housing and other reconstruction projects. A gifted urban planner, he also developed the Palazzo Bianco, Palazzo Rosso and Tesoro di San Lorenzo museums in Genoa. While Albini is revered for his Margherita chair — a Triennale Milano award winner created for Bonacina in 1951 — he also collaborated with manufacturers Poggi and Cassina in the 1940s on seating, tables and more that embodied his artistic vision. Of that mid-century work, the one piece that perhaps best captures this vision is the iconic Luisa chair.