[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-classicon-collection-2023":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":884},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":879,"matched_pages":880,"match_count":881,"two_pages":882,"show_text":883},16564,"Collection 2023","classicon-collection-2023","\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Faa\u002Fb231a5bc6fb22bc0d0206d4e5b32c4-2871b3cb91.pdf","ClassiCon",2172,"classicon","12.4 MB",[14,17,21,24,27,30,34,38,42,46,50,54,58,62,66,70,74,78,81,85,88,92,96,100,104,108,111,115,118,122,126,130,133,137,141,145,149,153,157,161,165,169,173,177,180,184,187,191,195,199,203,207,210,214,218,222,225,229,233,237,241,245,249,253,256,260,264,268,272,276,279,283,287,291,295,299,303,307,311,315,319,323,327,331,335,339,343,347,351,355,358,362,366,370,373,377,381,385,389,392,395,399,403,407,411,415,419,423,426,430,434,438,442,446,450,454,458,462,466,470,474,478,482,486,490,494,498,502,506,510,514,518,522,526,530,534,537,541,544,548,551,555,559,563,567,571,575,579,583,586,590,593,596,600,603,607,611,615,618,622,625,629,632,636,640,644,648,652,655,659,663,666,670,674,677,681,685,688,691,695,699,702,706,710,714,717,720,724,727,731,735,738,741,745,749,752,755,759,763,767,770,774,778,782,786,790,794,798,802,806,810,814,818,822,826,830,834,838,842,846,850,854,858,862,866,870,873,877],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.2.png","Experience the beauty of  \nthe forms and materials of our \ncollection up close in a video\n",2,{"image":22,"text":15,"number":23},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.3.png",3,{"image":25,"text":15,"number":26},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.4.png",4,{"image":28,"text":15,"number":29},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.5.png",5,{"image":31,"text":32,"number":33},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.6.png","Content\n \nP 11, 13, 39, 67 \nInterview  \nOliver Holy\nP 14 \nCollection\nP 114 \nEileen Gray  \nNon Conformist \nArtist \nP 130 \nHome\nP 196 \nContract\nP 209 \nDesigners\nP 213 \nProducts\n",6,{"image":35,"text":36,"number":37},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.7.png","All products featured here are only suitable for indoor use\n(except for: Pallas Table by Konstantin Grcic).\n",7,{"image":39,"text":40,"number":41},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.8.png","All Eileen Gray Designs are authorised by \nTe World Licence Holder Aram Designs Ltd, London\n1927\nAdjustable Table E1027 Black Version, Eileen Gray\nclassic\nClassic Contemporary Design\n",8,{"image":43,"text":44,"number":45},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.9.png","1927\nAdjustable Table E1027 Black Version, Eileen Gray\nclassic\n2012\nBell Side Table, Sebastian Herkner\ncontemporary\nClassic Contemporary Design\n",9,{"image":47,"text":48,"number":49},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.10.png","100 \nYEARS\n1924\nLota Sofa, Eileen Gray\nclassic\n",10,{"image":51,"text":52,"number":53},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.11.png","1924\nLota Sofa, Eileen Gray\nclassic\n2005\nOdin Sofa, Konstantin Grcic\ncontemporary\n",11,{"image":55,"text":56,"number":57},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.12.png","ClassiCon headquarters in Munich, rear view\n“I’m a flâneur,” \nsays Oliver Holy who \nmanages ClassiCon \nwith an unerring instinct \nfor quality and beauty. \nThis is no coincidence. \nHe talked to Gabriele Thiels \nabout his passion for art \nand architecture, about \ntravelling and unexpected \nstories. And about what \nputs him in a good mood \nevery morning.\nJournalist Gabriele Thiels has been writing about design \nfor twenty-five years. She remembers well the first time \nshe sat down on Konstantin Grcic’s Chaos Chair – an instant \nexperience of good design.\n",12,{"image":59,"text":60,"number":61},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.13.png","Continue reading on page 13\nThe ClassiCon headquarters building in Munich is a spectacularly minimalist \ncube made of exposed concrete. Closed on the street side like a vault and com- \npletely glazed at the rear, it sets the stage for the brand’s furniture. The pieces \nare showcased like sculptures in a modern gallery, signalling: we are the icons  \nof today and tomorrow. At Oliver Holy’s home, on the other hand, they are above \nall companions, friends and silent family members. “Just drop by,” he suggested. \nThe sole proprietor of ClassiCon lives in the centre of Munich’s Schwabing \ndistrict in an Art Nouveau house: parquet floors, mullioned windows, stucco  \nceilings, contemporary art on the walls. Konstantin Grcic’s Odin Sofa and the \nSaturn Coat Stand by Barber Osgerby are positioned up front in the entrance \narea, the Bibendum Armchair by Eileen Gray can be found outside the bedroom \ndoor and Grcic’s Pallas Table in the dining room. These are complemented by \nother classics, such as Eero Saarinen’s Tulip table and chairs, or the Rag Chair \nmade of layered pieces of clothing by the Dutch group Droog Design. The kitchen \nis custom-made according to Holy’s designs, an almost floor-to-ceiling frame-\nwork with worktops and open compartments, made entirely of walnut, only the \nside panels are yellow, “inspired by Donald Judd,” he says with a grin.\nGabriele Thiels (GT)  \nLooking around your home, Mr Holy, ClassiCon furniture tends to play a \nrather minor role. \nOliver Holy (OH)  \nNo, but there are just so many other beautiful things that I like to have \naround me. Take a look at these knives. Two guys from Aschau make them \nin their own manufactory from countless layers of steel and then add these \ninteresting handles made of mammoth tooth or moor oak. This is crafts-\nmanship in its purest form. If I wanted to establish an accessory line one \nday, it would be with these guys – just build a nice display case, put the \nknives in it and let it do its magic. And I bet there are enough people who \nwould like to know the story behind it. And telling stories is my thing. \nGT  \nQuality is obviously also your thing ...\nOH  Anything that is well designed, well executed and made of good materials \ninspires me. That could be the knives or this ceramic pot here on the kitchen \ntable. It’s actually a milk jug. I found it in Soglio, an ancient mountain village \nin Switzerland – the green dots on the pink background are beautiful, aren’t \nthey? A particularly soft cashmere jumper makes me just as happy as a  \nwriting pad made of open-pored leather or a mango truffle that melts in my \nmouth. Where there is quality, there are stories. That’s what connects all \nthe pieces here in my home and in the ClassiCon collection.\nGT  \nYou once wanted to become a designer, but then you studied law. However, \nwhen the offer to join ClassiCon came shortly before your first state exam, \nyou accepted without hesitation and immediately abandoned your studies. \nWhat made you so sure? \nOH \nI simply realised that it was the right thing for me. I had the confidence to \ndo it. I didn’t know why exactly, but I often don’t know that. I just go for it.\nP 11\n",13,{"image":63,"text":64,"number":65},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.14.png","PIONEERING \nHow much pioneering spirit can be found in a piece of furniture?  \nAt ClassiCon, you will find only innovative furniture that expresses \nthe courage to explore new horizons. Some of the pieces have big \nnames, and each single one can look back on a proud design history \nthat, in some cases, goes back decades. Others, however, are only \nabout to embark upon a big design episode. At ClassiCon, pioneering \ndesign is in the very best hands because designers and their copyright \nholders know that we treat their originals with the utmost respect. \nAnd since such icons are rare, our collection of modern classics is \nboth small and classy.\n",14,{"image":67,"text":68,"number":69},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.15.png","Continue reading on page 39\nGT  \nWhat do you mean by “going for it”? \nOH  I’m not the conceptual type, but I have a great passion for art and architec-\nture. This I contributed right from the start. It’s not for nothing that we  \nhave this multi-award-winning company building, and it’s not for nothing \nthat we organise exhibitions and publish books. From the very beginning, \nClassiCon was more than just a furniture brand, just as Eileen Gray, whose \ndesigns make up the majority of our classics, never just designed furniture, \nbut was also an architect and artist. You only have to look at the gouaches \nrespective to her carpets to realise how fluid the transitions were. In this \nenvironment I instantly felt at home. \nGT \nClassiCon has not only the classics of today in its name, but also those of \ntomorrow. But how do you recognise a future classic? \nOH \nYou don’t. At best, you can see the potential. But in our case, I find it  \nhelpful to have Eileen Gray’s furniture in the back of my head in terms of \nthe high quality and special nature of the design. It’s about sensing the \ninnovative spirit, the courage behind it. As a young designer in the 1990s, \nKonstantin Grcic, for example, designed various pieces of cabinet furniture \nfor ClassiCon, including the Orkus Home Desk from 1993, which is still \nin the collection today. In 2001, he designed the slim, provocatively bent \nChaos Chair and I remember exactly how he came to us with the design: \nhe had the chair with him as a 1:1 model. There was this cardboard box \nstanding in front of me, folded and glued several times, and at first, I had \nno idea how to imagine it with upholstery. But I said to myself: let’s  \nmake a prototype. I found it fascinating.\nGT \nYou rarely commission designers, you rather tend to find designs.  \nWhy is that? \nOH \nDesign commissions do not correspond to my nature, nor to the idea I  \nhave of my job. I don’t build up our portfolio strategically, but rather like  \na flâneur who makes discoveries. You can’t always sit in the office to do \nthat. You have to talk to people, leaf through magazines and auction cata-\nlogues, travel. You have to be constantly on the move, both mentally and \nliterally – and sometimes you have to be very persistent. Take the Corker \nstool by Herzog & de Meuron, for example, which I saw at the Serpentine \nGallery pavilion in London in 2012 and knew immediately that I wanted it \nfor ClassiCon! We were in discussions with Herzog & de Meuron for eight \nyears before we started on the product development in 2020 and event-\nually presented the stool in Milan in 2022. \nGT  \nDo you travel a lot?\nOH  I do. A lot. It’s business and inspiration at the same time. ClassiCon is  \nnow represented in eighty countries and I have the ambition to visit all the \ndealers. This is important for business and for me personally. Last year,  \nI was once again in New Zealand and Australia, stopping off in Singapore \non the way. I always try to add another day or two to my trip …\nP 13\n",15,{"image":71,"text":72,"number":73},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.16.png","COLLECTION \nGood furniture is like a good friend: someone we enjoy spending \ntime with, who becomes an appreciated part of our life sooner \nor later, and who accompanies us through life, wherever it may \ntake us. Tis is the kind of furniture we make.\nBUILT VISION\nTe Hammerschmidt is a new ofce building on the outskirts of Munich, open to its \nsurroundings and yet a world unto itself: 150 metres long, 16,000 square metres of \nfoor space spread over six fully-glazed storeys. A structure made of exposed concrete \nwith various communication points and a roof terrace for everyone. Te design by \narchitects Brandlhuber + Muck Petzet is the perfect location to photograph ClassiCon \nfurniture. Te building’s sculptural energy emphasises the elegance and clarity of the \nfurniture and, like the collection itself, it is both timeless and ahead of its time. \nClassiCon‘s furniture, rugs and lighting are made for indoor use. As an exception, \ninspired by the blurring boundaries between indoor and outdoor spaces, by light and \nshadow and by the expanse of the roof terrace, we are also showcasing the products \nin an outdoor environment.\n",16,{"image":75,"text":76,"number":77},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.17.png","Experience the beauty of \nthe forms and materials of our \ncollection up close in a video\nP 15\n",17,{"image":79,"text":15,"number":80},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.18.png",18,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.19.png","All products featured here are only suitable for indoor use\n(except for: Pallas Table by Konstantin Grcic).\nBIBENDUM ARMCHAIR 1926\nEILEEN GRAY\nP 214\nMONTE CARLO SOFA 1929\nEILEEN GRAY\nP 215\nFAUBOURG RUG 1920–1935\nEILEEN GRAY\nP 221\nADJUSTABLE TABLE E1027 1927\nEILEEN GRAY\nP 216\nP 17\n",19,{"image":86,"text":15,"number":87},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.20.png",20,{"image":89,"text":90,"number":91},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.21.png","ADJUSTABLE TABLE E1027 1927\nEILEEN GRAY\nP 216\nMARS CHAIR 2003\nKONSTANTIN GRCIC\nP 214\nP 19\n",21,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.22.png","DAY BED 1925\nEILEEN GRAY\nP 215\nTUBE LIGHT FLOOR LAMP 1927\nEILEEN GRAY\nP 220\n",22,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.23.png","P 21\n",23,{"image":101,"text":102,"number":103},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.24.png","BOW COFFEE TABLE SERIES 2018\nGUILHERME TORRES\nP 216\nBOW COFFEE TABLE NO. 3 MARBLE 2019\nGUILHERME TORRES\nP 216\nCYPRIS MIRROR 2015\nNINA MAIR\nP 219\n",24,{"image":105,"text":106,"number":107},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.25.png","P 23\n",25,{"image":109,"text":15,"number":110},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.26.png",26,{"image":112,"text":113,"number":114},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.27.png","OCCASIONAL TABLE 1927\nEILEEN GRAY\nP 217\nBIBENDUM ARMCHAIR 1926\nEILEEN GRAY\nP 214\nBRICK SCREEN 1922–1925\nEILEEN GRAY\nP 219\nP 25\n",27,{"image":116,"text":15,"number":117},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.28.png",28,{"image":119,"text":120,"number":121},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.29.png","BRICK SCREEN 1922–1925\nEILEEN GRAY\nP 219\nBIBENDUM ARMCHAIR 1926\nEILEEN GRAY\nP 214\nP 27\n",29,{"image":123,"text":124,"number":125},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.30.png","FORMA TABLE LAMP 2023\nCHRISTIAN HAAS\nP 220\nBOW COFFEE TABLE NO. 3 2018\nGUILHERME TORRES\nP 216\nBOW COFFEE TABLE NO. 5 2018\nGUILHERME TORRES\nP 216\nMONOLITH RUG 1920–1935\nEILEEN GRAY\nP 221\nCYPRIS MIRROR 2015\nNINA MAIR\nP 219\nEUVIRA ROCKING CHAIR 2013\nJADER ALMEIDA\nP 214\n",30,{"image":127,"text":128,"number":129},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.31.png","P 29\n",31,{"image":131,"text":15,"number":132},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.32.png",32,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.33.png","BOW COFFEE TABLE NO. 5 2018\nGUILHERME TORRES\nP 216 \nBOW COFFEE TABLE NO. 3 2018\nGUILHERME TORRES\nP 216\nBELL SIDE TABLE 2012\nSEBASTIAN HERKNER\nP 216\nBRICK SCREEN 1922–1925\nEILEEN GRAY\nP 219\nP 31\n",33,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.34.png","PALLAS TABLE OUTDOOR 2003\nKONSTANTIN GRCIC\nP 218\n",34,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.35.png","What has changed in your life, professionally or privately, \nin recent years?\n“The conditions in which we produce architecture have changed \ndramatically. The classic ofce and the commercial property \nsector in particular are experiencing a crisis in terms of funding \nand letting, but other projects are also struggling. We are facing \na necessary transformation of the property market. At the end \nof the day, concepts will prevail – like that of the Hammerschmidt \nnear Munich – that embody a new idea of community, of inter-\naction and of providing hybrid spaces of living and working, which \ncan respond to change in open and flexible ways.”\nMuck Petzet, architect\nP 33\n",35,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.36.png","MATÉRIA SIDE TABLE MARBLE 2024\nCHRISTIAN HAAS\nP 217\nFORMA TABLE LAMP 2023\nCHRISTIAN HAAS\nP 220\nLANTERN LIGHT FLOOR LAMP 2017\nNERI&HU\nP 220\nDAY BED 1925\nEILEEN GRAY\nP 215\nBELL SIDE TABLE 2012\nSEBASTIAN HERKNER\nP 216\n",36,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.37.png","P 35\n",37,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.38.png","BELL SIDE TABLE 2012\nSEBASTIAN HERKNER\nP 216\nBELL COFFEE TABLE 2012\nSEBASTIAN HERKNER\nP 216\nBELL COFFEE TABLE COPPER* 2013\nSEBASTIAN HERKNER\nP 216\nBELL SIDE TABLE COPPER* 2013\nSEBASTIAN HERKNER\nP 216\n*Metal top frame of unlacquered copper develops a natural patina\n",38,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.39.png","P 37\n",39,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.40.png","TIMELESS \nWhat matters in the end are the things that last. At ClassiCon, we \nare dedicated to these timeless companions. Our name stands for the \nunique combination of classic and contemporary pieces, the classics \nof today and – tomorrow. What they all have in common is that \ntheir form and function prevail beyond trends and fashions. They \nhave staying power. We enjoy having them around because they are \noutstandingly designed, carefully selected, and manufactured with \ngreat passion and superb craftsmanship. Time is unable to harm \nthem; instead, they gain in character as time goes by.\n",40,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.41.png","GT  \n… for a stroll? \nOH \nSort of. I visit trade fairs, museums, galleries and I rely on recommenda-\ntions from my network. I recently met Neri & Hu in New York, the Chinese \ndesigner duo with whom we developed the Lantern Light luminaires. They \nintroduced me to a Texan who told me about the big creative scene in Dallas, \nwhich I now want to see for myself. Sometimes it also happens that the \ndealers I meet spontaneously show me their city, just as I do for visitors to \nMunich. You discover things that are not mentioned in any travel guide.  \nStill – I have never made it up the Eiffel Tower.\nGT \nYou are a wheelchair user. What are the challenges of travelling? \nOH  As a wheelchair user, you acquire a certain pragmatism: what will be possi- \nble? What will not? This question defines everyday life, and you immediately \nput a tick next to the results. I recently met an eco-activist who travels to \nthe Arctic in a small ship, taking a handful of passengers with her. Of course, \nI want to see the polar bears. So, my first question is: can I get on board  \nin a wheelchair? Yes, I can. If I couldn’t have, I would have thought: I tried, it  \ndidn’t work, I shall ask again in five years’ time, maybe the ship will have \nbeen modified and the conditions will be better. And sometimes you just \nignore the dangers. I’ve already tobogganed down the World Cup bobsleigh \nrun in St. Moritz, and the ClassiCon team, who know me well, recently  \ngave me a tandem parachute jump as a gift. \nGT  \nWhen deciding whether to include a product in the collection, you rely on \nyour “gut feeling,” as you call it … \nOH  Exactly. I have to be able to identify with a design. \nGT  \nWhat can prompt this feeling? \nOH  Everything really. The material, for example: I’ve been a cork lover for a long \ntime; I think the lightness of it is wonderful. I also love marble or untreated, \nopen-pored leather. It can be the texture of a surface, or a particularly \nsurprising idea – but I often only realise this later. At first, there is simply  \na positive reflex.\nGT \nIs this instinct a family trait? You come from a textile dynasty; your great- \ngrandfather was Hugo Boss; your father Jochen turned the company into a \nglobal brand. \nOH  Sure, the haptic sensitivity comes from my father, who could recognise the \ncomposition of a material simply by feeling it. My love of design, art and \narchitecture was mainly influenced by my mother. \nGT  \nDid you grow up with furniture by Eileen Gray? \nOH  Yes, I did! And with other classics. At home in Metzingen, there was not \nonly her Day Bed, the curved Monte Carlo Sofa and the Adjustable Table, \nthere were also armchairs and the lounger by Le Corbusier. My father took \nhis daily nap on it – arms on his stomach, keys in his hand – waking up the \nmoment he dropped the keys: a twenty-minute power nap in the middle of \nthe living room, while the sounds from the kitchen or the children were  \njust white noise for him. \nGT  \nIn the furniture industry, design extensions, adaptations and material varia- \ntions are a matter of course, but classics are considered almost untouchable. \nNevertheless, you have launched some of Eileen Gray’s designs, including \nthe Adjustable Table, with a black instead of a chrome-plated frame. Why \ndid you do that? And above all: how did you achieve that? \nContinue reading on page 67\nP 39\n",41,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.42.png","All products featured here are only suitable for indoor use\n(except for: Pallas Table by Konstantin Grcic).\nCYPRIS MIRROR 2015\nNINA MAIR\nP 219\nVOLKSHAUS LOUNGE CHAIR 2024\nHERZOG & DE MEURON\nP 214\nCORKER NO. 1 MARBLE 2023\nHERZOG & DE MEURON\nP 215\nCORKER SERIES 2022\nHERZOG & DE MEURON\nP 215\n",42,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.43.png","P 41\n",43,{"image":178,"text":15,"number":179},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.44.png",44,{"image":181,"text":182,"number":183},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.45.png","All products featured here are only suitable for indoor use\n(except for: Pallas Table by Konstantin Grcic).\nSATURN COAT STAND 2007\nBARBER OSGERBY\nP 219\nMUNICH LOUNGE CHAIR 2009\nSAUERBRUCH HUTTON\nP 214\nMUNICH ARMCHAIR 2011\nSAUERBRUCH HUTTON\nP 214\nMUNICH STOOL 2012\nSAUERBRUCH HUTTON\nP 215\nP 43\n",45,{"image":185,"text":15,"number":186},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.46.png",46,{"image":188,"text":189,"number":190},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.47.png","All products featured here are only suitable for indoor use\n(except for: Pallas Table by Konstantin Grcic).\nTRITON BAR STOOL 2007\nCLEMENS WEISSHAAR\nP 215\nTRITON COUNTER STOOL 2007\nCLEMENS WEISSHAAR\nP 215\nBAR STOOL NO. 1 1928\nEILEEN GRAY\nP 215\nBAR STOOL NO. 2 1928\nEILEEN GRAY\nP 215\nSATISH BAR STOOL 1931\nECKART MUTHESIUS\nP 215\nP 45\n",47,{"image":192,"text":193,"number":194},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.48.png","EUVIRA ROCKING CHAIR 2013\nJADER ALMEIDA\nP 214\nNYMPHENBURG COAT STAND 1908\nOTTO BLÜMEL\nP 219\nBIBENDUM ARMCHAIR 1926\nEILEEN GRAY\nP 214\nSATURN COAT STAND 2007\nBARBER OSGERBY\nP 219\nUSHA UMBRELLA STAND 1932\nECKART MUTHESIUS\nP 219\nTADAIMA CONSOLE 2017\nA+A COOREN\nP 219\n",48,{"image":196,"text":197,"number":198},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.49.png","P 47\n",49,{"image":200,"text":201,"number":202},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.50.png","EUVIRA ROCKING CHAIR 2013\nJADER ALMEIDA\nP 214\nLOTA SOFA 1924\nEILEEN GRAY\nP 215\n",50,{"image":204,"text":205,"number":206},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.51.png","P 49\n",51,{"image":208,"text":15,"number":209},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.52.png",52,{"image":211,"text":212,"number":213},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.53.png","FOLDING SCREEN 1930\nEILEEN GRAY\nP 219\nBOW COFFEE TABLE NO. 3 MARBLE 2019\nGUILHERME TORRES\nP 216\nLOTA SOFA 1924\nEILEEN GRAY\nP 215\nBELL SIDE TABLE MARBLE 2023\nSEBASTIAN HERKNER\nP 216\nP 51\n",53,{"image":215,"text":216,"number":217},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.54.png","PLISSÉE FLOOR LAMP 2020 \nSEBASTIAN HERKNER \nP 220\nPLISSÉE PENDANT LAMP 2023 \nSEBASTIAN HERKNER \nP 220\nADJUSTABLE TABLE E1027 1927 \nEILEEN GRAY \nP 216\nODIN SOFA 2005 \nKONSTANTIN GRCIC \nP 215\nBELL TABLE COPPER* 2013 \nSEBASTIAN HERKNER \nP 216\n*Metal top frame of unlacquered copper develops a natural patina\n",54,{"image":219,"text":220,"number":221},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.55.png","P 53\n",55,{"image":223,"text":15,"number":224},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.56.png",56,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.57.png","PLISSÉE FLOOR LAMP 2020\nSEBASTIAN HERKNER\nP 220\nPLI TABLE 2017\nVICTORIA WILMOTTE\nP 218\nEUVIRA ROCKING CHAIR 2013\nJADER ALMEIDA\nP 214\nEUVIRA LOUNGE CHAIR 2015\nJADER ALMEIDA\nP 214\nP 55\n",57,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.58.png","PLI SIDE TABLE HIGH & LOW 2017 \u002F 2016 \nVICTORIA WILMOTTE\nP 217\nPLI TABLE 2017\nVICTORIA WILMOTTE\nP 218\n",58,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.59.png","P 57\n",59,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.60.png","P 58\n",60,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.61.png","SELENE PENDANT LAMP 2006\nSANDRA LINDNER\nP 220\nEUVIRA ROCKING CHAIR 2013\nJADER ALMEIDA\nP 214\nEUVIRA LOUNGE CHAIR 2015\nJADER ALMEIDA\nP 214\n",61,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.62.png","PEGASUS HOME DESK 2014\nTILLA GOLDBERG\nP 218\nCASSIS RUG 1920–1935\nEILEEN GRAY\nP 221\nDIANA B SIDE TABLE 2002\nKONSTANTIN GRCIC\nP 216\n",62,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.63.png","P 61\n",63,{"image":254,"text":15,"number":255},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.64.png",64,{"image":257,"text":258,"number":259},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.65.png","ROATTINO FLOOR LAMP 1931\nEILEEN GRAY\nP 220\nPLISSÉE PENDANT LAMP 2023\nSEBASTIAN HERKNER\nP 220\nCASSIS RUG 1920–1935\nEILEEN GRAY\nP 221\nBONAPARTE ARMCHAIR 1935\nEILEEN GRAY\nP 214\nP 63\n",65,{"image":261,"text":262,"number":263},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.66.png","FOLDING SCREEN 1930\nEILEEN GRAY\nP 219\nOCCASIONAL TABLE 1927\nEILEEN GRAY\nP 217\nRIVOLI TABLE 1928\nEILEEN GRAY\nP 217\n",66,{"image":265,"text":266,"number":267},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.67.png","P 65\n",67,{"image":269,"text":270,"number":271},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.68.png","AUTHENTIC \nOur designers and their work are as cosmopolitan as we are  \ndown-to-earth when it comes to choosing our production partners. \nClassiCon furniture is mainly produced by craft businesses in the \nMunich area, and in Italy. Many of them are family-run companies, \nand we have known them personally for a long time; all of them are \nmasters of their trade. They share our passion for the best materials \nand precision craftsmanship. Because of this, the highest quality \nstandards and uncompromising sustainability are an integral part \nof our furniture right from the start. This can be recognised by  \nthe ClassiCon logo, which unmistakably identifies our originals  \nas such.\n",68,{"image":273,"text":274,"number":275},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.69.png","OH  Materials are also subject to fashions, and chrome wasn’t very popular for \nquite some time. In addition, many people today still appreciate the recog-\nnisability of classics, but at the same time they want something special \nthat not everyone has. For example, matt black frames. We worked closely \nwith the global licensor, Aram Designs Ltd, to realise this, and it was only \npossible because, in the 1920s, Eileen Gray herself had experimented with  \na version of the table that had a black metal top instead of a glass top and  \na black frame. It was only when a photo of it appeared on the cover of the  \ncatalogue for the 2013 Eileen Gray retrospective at the Centre Pompidou \nthat we were allowed to get started. After seventeen prototypes we got the \ngo-ahead for the right shade of black. In other words: it was very difficult, \nbut it was definitely worth it.\nGT  \nDo you think that, as the proprietor, you can act more freely in your own \ncompany than a managing director could? \nOH  Definitely. I can invest more long-term in new products and know-how, or  \nI can include designs in the collection whereby I know straight away that \nthey won’t be a great success. I can organise exhibitions and publish books. \nAs the owner, I can be much more of a human being, if you like. Our port-\nfolio also reflects my life. I see that as a privilege and, at the same time, it \nalso has a greater emotional effect. \nGT  \nIs that why you work primarily with other owner-managed companies?\nOH  Yes, it is. Also, most of our manufacturers come from this region, I know \nthem all personally. They are craft specialists who have preserved their \ntraditional skills and expertise. Many of these companies have been around \nfor several generations; they are rooted in their region and feel responsible \nfor the people and the landscape. Sustainability is part of their DNA, not a  \nmarketing issue. The dust jacket for this catalogue, for example, comes \nfrom Gmund Papier, a paper manufactory on Lake Tegernsee, a region where  \nI spent my youth, and where I still like to go at weekends and to which \nour family is very much attached. Gmund Papier has been in existence for \nalmost 200 years and has always kept up with the times: they save water, \nraw materials and energy; they produce their own electricity from hydro-\npower and they recycle manufacturing waste back into the production cycle.  \nThe different types of paper are certified, look high class and feel good to \nthe touch. It’s all possible. The world is far too beautiful not to preserve it \nfor the next generation. \nGT  \nHow does a positive person like you protect himself from everyday  \nfrustration? \nOH  A coach once explained to me that the first twenty minutes in the morning \ndetermine how you’ll feel throughout the day. This has confirmed my ritual: \nafter waking up, I stay in bed for a short while, draw back the curtains and \nenjoy the view of the garden. E-mails don’t get read until after breakfast. \nAnd, most importantly: I listen to Bayern 1! That was my grandparents’ radio  \nstation. Nowadays, they play those feel-good catchy tunes to sing along  \nto – “Sing Halleluhja!”, “I got the power”, or, really old (he sings, and in key): \n“When I wake up, \u002F in the morning light \u002F I pull on my jeans \u002F and  \nI feel alright ...”. I love it. \nThe end.\nP 67\n",69,{"image":277,"text":15,"number":278},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.70.png",70,{"image":280,"text":281,"number":282},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.71.png","LA LUNE RUG 1920–1935\nEILEEN GRAY\nP 221\nROATTINO FLOOR LAMP 1931\nEILEEN GRAY\nP 220\nBIBENDUM ARMCHAIR 1926\nEILEEN GRAY\nP 214\nP 69\n",71,{"image":284,"text":285,"number":286},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.72.png","AËRIAS CHAIR 2018\nTILLA GOLDBERG\nP 214\nLOU PEROU TABLE 1926\nEILEEN GRAY\nP 218\nORBIS DESK LAMP 1994\nHERBERT H. SCHULTES\nP 220\nSELENE PENDANT LAMP 2006\nSANDRA LINDNER\nP 220\nROQUEBRUNE CHAIR 1927\nEILEEN GRAY\nP 214\n",72,{"image":288,"text":289,"number":290},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.73.png","P 71\n",73,{"image":292,"text":293,"number":294},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.74.png","AËRIAS CHAIR 2018\nTILLA GOLDBERG\nP 214\nDE STIJL RUG 1920–1935\nEILEEN GRAY\nP 221\nPETITE COIFFEUSE 1926\nEILEEN GRAY\nP 217\nOCCASIONAL TABLE 1927\nEILEEN GRAY\nP 217\n",74,{"image":296,"text":297,"number":298},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.75.png","DE STIJL RUG 1920–1935\nEILEEN GRAY\nP 221\nBIBENDUM ARMCHAIR 1926\nEILEEN GRAY\nP 214\nMONOLITH RUG 1920–1935\nEILEEN GRAY\nP 221\nADJUSTABLE TABLE E1027 1927\nEILEEN GRAY\nP 216\nTUBE LIGHT FLOOR LAMP 1927\nEILEEN GRAY\nP 220\nP 73\n",75,{"image":300,"text":301,"number":302},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.76.png","DE STIJL RUG 1920–1935\nEILEEN GRAY\nP 221\nMENTON TABLE 1932\nEILEEN GRAY\nP 217\nORBIS FLOOR LAMP 1994\nHERBERT H. SCHULTES\nP 220\nBONAPARTE ARMCHAIR 1935\nEILEEN GRAY\nP 214\n",76,{"image":304,"text":305,"number":306},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.77.png","P 75\n",77,{"image":308,"text":309,"number":310},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.78.png","BLUE MARINE RUG 1920–1935\nEILEEN GRAY\nP 221 \nOCCASIONAL TABLE 1927\nEILEEN GRAY\nP 217\n",78,{"image":312,"text":313,"number":314},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.79.png","P 77\n",79,{"image":316,"text":317,"number":318},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.80.png","ADJUSTABLE TABLE E1027 1927\nEILEEN GRAY\nP 216\n",80,{"image":320,"text":321,"number":322},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.81.png","What has changed in your life,  \nprofessionally or privately, in recent years?\n“The increase in sales via e-commerce  \nplatforms has resulted in a situation where \npoor-quality imitations of classic and con- \ntemporary designs are finding their way \ninto our living rooms ever more quickly. \nWhen rights holders want to successfully \ntake action against the manufacturers and \ndistributors of counterfeit products, they are \nfacing a costly and time-consuming process. \nIt is therefore all the more important to \nmake consumers aware once again of the \nvalue of creative achievement and of the \nvalue-preserving quality of the originals.”\nDr Michael Jilek, lawyer\nP 79\n",81,{"image":324,"text":325,"number":326},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.82.png","BONAPARTE RUG 1920–1935\nEILEEN GRAY\nP 221\nPETITE COIFFEUSE 1926\nEILEEN GRAY\nP 217\nNYMPHENBURG COAT STAND 1908\nOTTO BLÜMEL\nP 219\nNON CONFORMIST ARMCHAIR 1926\nEILEEN GRAY\nP 214\n",82,{"image":328,"text":329,"number":330},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.83.png","P 81\n",83,{"image":332,"text":333,"number":334},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.84.png","SOL SIDE TABLE 2021\nORTEGAGUIJARRO\nP 217\n",84,{"image":336,"text":337,"number":338},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.85.png","P 83\n",85,{"image":340,"text":341,"number":342},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.86.png","SOL SIDE TABLE 2021\nORTEGAGUIJARRO\nP 217 \nMATÉRIA SIDE TABLE 2021\nCHRISTIAN HAAS\nP 217\nMATÉRIA COFFEE TABLE 2021\nCHRISTIAN HAAS\nP 217\n",86,{"image":344,"text":345,"number":346},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.87.png","P 85\n",87,{"image":348,"text":349,"number":350},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.88.png","MATÉRIA TABLE SERIES 2021\nCHRISTIAN HAAS\nP 217\nMATÉRIA SIDE TABLE MARBLE 2024\nCHRISTIAN HAAS\nP 217\n",88,{"image":352,"text":353,"number":354},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.89.png","P 87\n",89,{"image":356,"text":15,"number":357},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.90.png",90,{"image":359,"text":360,"number":361},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.91.png","SELENE PENDANT LAMP 2006\nSANDRA LINDNER\nP 220\nCYPRIS MIRROR 2015\nNINA MAIR\nP 218\nBELL SIDE TABLE 2012\nSEBASTIAN HERKNER\nP 216\nP 89\n",91,{"image":363,"text":364,"number":365},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.92.png","CYPRIS MIRROR 2015\nNINA MAIR\nP 219\nPLI SIDE TABLE LOW 2016\nVICTORIA WILMOTTE\nP 217\nCHAOS CHAIR 2001\nKONSTANTIN GRCIC\nP 214\n",92,{"image":367,"text":368,"number":369},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.93.png","P 91\n",93,{"image":371,"text":15,"number":372},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.94.png",94,{"image":374,"text":375,"number":376},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.95.png","PARIS SHELF 2005\nBARBER OSGERBY\nP 218\nVASE 2014\nCLASSICON\nP 219\nBOWL 2014\nCLASSICON\nP 219\nDIANA B SIDE TABLE 2002\nKONSTANTIN GRCIC\nP 216\nDIANA A SIDE TABLE 2002\nKONSTANTIN GRCIC\nP 216\nP 93\n",95,{"image":378,"text":379,"number":380},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.96.png","All products featured here are only suitable for indoor use\n(except for: Pallas Table by Konstantin Grcic).\nDIANA B SIDE TABLE 2002\nKONSTANTIN GRCIC\nP 216\nDIANA D COFFEE TABLE 2002\nKONSTANTIN GRCIC\nP 217\nDIANA F SIDE TABLE 2002\nKONSTANTIN GRCIC\nP 217\nDIANA C SIDE TABLE 2002\nKONSTANTIN GRCIC\nP 216\nDIANA E SIDE TABLE 2002\nKONSTANTIN GRCIC\nP 217\nDIANA A SIDE TABLE 2002\nKONSTANTIN GRCIC\nP 216\n",96,{"image":382,"text":383,"number":384},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.97.png","P 95\n",97,{"image":386,"text":387,"number":388},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.98.png","SATURN COAT STAND 2007\nBARBER OSGERBY\nP 219\nMARS CHAIR 2003\nKONSTANTIN GRCIC\nP 214\nDOUBLE X TABLE 1928\nEILEEN GRAY\nP 218\nVENUS CHAIR 2006\nKONSTANTIN GRCIC\nP 214\nLANTERN LIGHT TABLE LAMP 2017\nNERI&HU\nP 220\nAIXIA CHAIR 1928\nEILEEN GRAY\nP 214\nP 96\n",98,{"image":390,"text":15,"number":391},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.99.png",99,{"image":393,"text":15,"number":394},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.100.png",100,{"image":396,"text":397,"number":398},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.101.png","MONOLITH RUG 1920–1935\nEILEEN GRAY\nP 221\nFORMA TABLE LAMP 2023\nCHRISTIAN HAAS\nP 220\nVENUS CHAIR 2006\nKONSTANTIN GRCIC\nP 214\nP 99\n",101,{"image":400,"text":401,"number":402},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.102.png","MARS CHAIR 2003\nKONSTANTIN GRCIC\nP 214\nORCUS HOME DESK 1993\nKONSTANTIN GRCIC\nP 218\n",102,{"image":404,"text":405,"number":406},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.103.png","P 101\n",103,{"image":408,"text":409,"number":410},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.104.png","VOLKSHAUS SIDE TABLE 2024\nHERZOG & DE MEURON\nP 217 \nVOLKSHAUS LOUNGE CHAIR 2024\nHERZOG & DE MEURON\nP 214\nVOLKSHAUS STOOL 2024\nHERZOG & DE MEURON\nP 215\n",104,{"image":412,"text":413,"number":414},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.105.png","P 103\n",105,{"image":416,"text":417,"number":418},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.106.png","VOLKSHAUS LOUNGE CHAIR 2024\nHERZOG & DE MEURON\nP 214\nCORKER NO. 3 2022\nHERZOG & DE MEURON\nP 215\n",106,{"image":420,"text":421,"number":422},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.107.png","What has changed in your life, professionally \nor privately, in recent years?\n“I’ve just travelled through South East Asia, \na holiday I’ve always dreamed of. It was like\na reset. After eleven years as an interior de-\nsigner and managing director in a company, \nI’m looking forward to what’s next – having \nmy own ofce under my own name, with \nvalues that I want to stand for as a person: \nquality, longevity, durability. Interior design \nhas increasingly become more of a lifestyle \ntopic; the furniture industry is almost as \nfast-paced as the fashion industry. But good \ninterior design needs time, it needs to evolve. \nIt needs to integrate the qualities of the space,\nits acoustics, the light – and it needs well \nthought-through, comfortable furniture, the \nquality of which has its price, but which \ncan be enjoyed for very many years.” \nJustin Howlett, interior designer\nP 105\n",107,{"image":424,"text":15,"number":425},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.108.png",108,{"image":427,"text":428,"number":429},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.109.png","DIANA D COFFEE TABLE 2002\nKONSTANTIN GRCIC\nP 217\nPAILLA WALL LAMP 1927\nEILEEN GRAY\nP 220\nCASTELLAR MIRROR 1927\nEILEEN GRAY\nP 218\nNOTOS STANDING DESK 1997\nTHOMAS KÜHL + ANDREAS KROB\nP 219\nST. TROPEZ RUG 1920–1935\nEILEEN GRAY\nP 221\nVOLKSHAUS SIDE TABLE 2024\nHERZOG & DE MEURON\nP 217\nVOLKSHAUS LOUNGE CHAIR 2024\nHERZOG & DE MEURON\nP 214 \nPIEGA MIRROR OBJECT MEDIUM 2018\nVICTORIA WILMOTTE\nP 219\nP 107\n",109,{"image":431,"text":432,"number":433},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.110.png","ROQUEBRUNE CHAIR 1927\nEILEEN GRAY\nP 214\nJEAN TABLE 1929\nEILEEN GRAY\nP 218\n",110,{"image":435,"text":436,"number":437},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.111.png","P 109\n",111,{"image":439,"text":440,"number":441},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.112.png","MANDU VALET STAND 1932\nECKART MUTHESIUS\nP 219\nNON CONFORMIST ARMCHAIR 1926\nEILEEN GRAY\nP 214\nNYMPHENBURG COAT STAND 1908\nOTTO BLÜMEL\nP 219\nAIXIA CHAIR 1928\nEILEEN GRAY\nP 214\nBANU STOOL 1931\nECKART MUTHESIUS\nP 215\n",112,{"image":443,"text":444,"number":445},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.113.png","P 111\n",113,{"image":447,"text":448,"number":449},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.114.png","All products featured here are only suitable for indoor use \n(except for: Pallas Table by Konstantin Grcic).\nORIGINAL DESIGNS. Abstract paintings rendered in the finest wool\nEileen Gray not only created some of the most iconic 20th century furniture classics but also \nran a studio in which rugs were manufactured. Gouaches, collages, and drawings by the \nqualified artist served as design templates. These artworks from the period between the 1920s \nto the 1930s also form the basis of our collection. We transfer them to rug designs with the \nutmost care in order to guarantee that they do justice to Eileen Gray’s designs in every respect.\n",114,{"image":451,"text":452,"number":453},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.115.png","Responsibility for Masterpieces of Design\nEileen Gray Collection \nClassiCon produces and distributes the Eileen Gray Collection as the sole licensee of Aram Designs \nLtd, London. In the 1970s, the designer worked with Zeev Aram to develop her furniture and lamps to \nproduction maturity for the frst time. In 1973, she granted the worldwide rights for the production and \ndistribution of her designs to Aram Designs. As a longstanding partner and licensee authorised by Aram, \nwe guarantee that the Eileen Gray Collection is produced with the highest quality standards and the highest \nlevel of accuracy to detail of the authorised designs. Eileen Gray’s embossed signature and the ClassiCon \nlogo are proof that these pieces of furniture were produced with the approval from the rights holders. \nRegarding the production, we also guarantee compliance with all environmental requirements, the use of \nhigh-quality materials and processing methods, as well as a meticulous fnal quality control.\n",115,{"image":455,"text":456,"number":457},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.116.png","Eileen Gray (1878–1976) was a multi-faceted artist and a non-conformist. \nAs a designer as well as a woman, she chose not to adhere to rigid \nboundaries, neither in her profession nor in love.\nEILEEN GRAY\nnon conformist\nartist\n",116,{"image":459,"text":460,"number":461},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.117.png","Irish-born and an art student from a well-of family, she moved to Paris at \nthe beginning of the 20th century, where she became a cheeky garçonne \nwith a short bob cut, and a successful businesswoman. \nFREE VERSATILE\nmodern\ncourageous\n",117,{"image":463,"text":464,"number":465},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.118.png","ARTWORK Wexford. Silhouette on paper, c. 1918 –25\nRUG Monolith Rug, designed c. 1920–35\n",118,{"image":467,"text":468,"number":469},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.119.png","“Life without art \nis a spring without water.”\nGold and red, brown and black were the colours of that time: in her twenties, Eileen Gray created Japanese-\ninfuenced lacquer works and set up an exhibition featuring a lascivious boudoir. Infuenced by the art deco \nstyle and made of fne woods, her furniture inspired the Parisian avant-garde circles of the Rive Gauche. \nIn these buzzing ‘lef bank’ circles, Eileen Gray not only found great loves, freedom and inspiration, but also \nher frst clients, who particularly loved her modern carpets. From 1909 to 1930, Eileen Gray and a friend ran \nvarious small weaving workshops in which her abstract carpet designs were produced. Small-format pictures, \nwhich she painted on paper using matte opaque watercolours, served as weaving templates. In addition to \nsuch gouaches, Eileen Gray also created collages. With this technique, individual geometric elements, such \nas squares or circles, could be repositioned to explore design variations. Each design was a special challenge \nbecause, unlike a painting, a carpet has no clearly defned top or bottom, right and lef. It has to look good \nfrom all sides. \nP 117\n",119,{"image":471,"text":472,"number":473},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.120.png","In addition, the pattern had to have the same efect when enlarged by a factor of ten to twenty and afer \nhaving been woven or knotted. As someone who had studied painting, Eileen Gray developed an unerring eye \nand a special instinct for this. Classical modernism had radically disposed of all musty, plush interiors. As a \ndesigner who loved to experiment, Eileen Gray brought carpets back into the home; featuring modern colours \nand graphic patterns, they formed an almost symbiotic relationship with her furniture. In an article from \n1929, Eileen Gray postulated that a “space for retreat and tranquillity” and “a harmonious atmosphere” were \nprerequisite to “create a home for people”, and for her, this included these home textiles. Beige and sand, these \nnatural tones were particularly popular among buyers. As early as 1904, during her travels and feld studies in \nNorth Africa, Eileen Gray had discovered these warm colours as well as her love of carpet design. From time \nimmemorial, woven works of art have been used in interiors to adorn walls, to defne diferent living areas, to \nimprove acoustics and to lend warmth to foors. Eileen Gray also envisaged thick carpets in the apartment on \nRue de Lota, the frst home which, in 1919, she was commissioned to design entirely for the fashion designer \nJuliette Mathieu-Lévy. Eileen Gray boldly chose black and white, silver and grey for the interior. “Dreams \ntranslated into rooms,” is how one critic praised her design.\nP 118\n",120,{"image":475,"text":476,"number":477},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.121.png","ARTWORK Faubourg. Gouache on paper, c. 1922–29 \nPHOTO Jean Désert showroom. Photo by Eileen Gray, c. 1926–29\n",121,{"image":479,"text":480,"number":481},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.122.png","PRODUCT Bibendum Armchair, designed 1926 \nPHOTO Jean Désert showroom front in 217 Rue du Faubourg Saint-Honoré, Paris. \nPhoto by Eileen Gray c. 1926–29\n",122,{"image":483,"text":484,"number":485},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.123.png","ARTWORK De Stijl. Gouache on paper, c. 1922–24\nRUG Wendingen Rug, designed c. 1920–35\nTis much-acclaimed major commission encouraged the then 44-year-old designer to open her own \ngallery in 1921 with the masculine-sounding name ‘Jean Désert’. A name that conveyed competence at a time \nwhen a female designer, a self-taught one at that, was an exotic exception. Eileen Gray subverted social preju-\ndices in both her professional and private life by boldly playing with identities. White and black, silver and grey \nalso defned the interiors of the new showroom; instead of lustrous wood, bare steel tubing shone on furniture \nand fxtures. Te ambiguous Désert et Gray adorned the gallery’s letterhead: performing gender, the fuid \nstaging of gender and identity, remained a motif at the core of her life. Te Bibendum club chair, which she \ndesigned in 1926, also plays with this notion. She knocked the heavy feet of this insignia of the cigar-smoking, \ncar-driving old-boy networkers and replaced them with an airy base of tubular steel – the cheeky statement of \na woman who preferred wearing trouser suits, loved women as well as men and drove a car herself. \nP 121\n",123,{"image":487,"text":488,"number":489},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.124.png","Stagnation was alien to Eileen Gray, and so she moved to the Côte d’Azur with her new muse, the architect \nJean Badovici. He had encouraged his companion, who was still inexperienced in architecture, to design and \nbuild a house there. In 1929, she completed her Villa E1027 on the Mediterranean coast near Monaco, today the \niconic Gray gesamtkunstwerk par excellence. Blue, yellow and white – during this auspicious time, the Medi-\nterranean summer colours shone particularly brightly for Eileen Gray, whose work was published by Badovici. \nIn 1929, he dedicated an entire issue of his magazine L’Architecture vivante to the now proud architect Eileen \nGray and her design manifesto. At that time, new carpet motifs such as Blue Marine or Centimetre told of the \nsea and of ship voyages, soon also in a second house in nearby Castellar, where she lived alone from 1940 afer \nseparating from Badovici. \nP 122\n",124,{"image":491,"text":492,"number":493},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.125.png","RUG Centimetre Rug, designed c. 1920–35\nPHOTOS Living room and exterior view of villa E1027, Roquebrune-Cap-Martin.\nPhotos by Eileen Gray, c. 1929\n",125,{"image":495,"text":496,"number":497},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.126.png","Afer the Second World War, during which Eileen Gray fell into oblivion as an architect and designer, she \ncontinued to work in a disciplined manner until old age, even without commissions. Drawing, collage and \npainting, which she pursued throughout her life, were comforting activities for her. Eileen Gray remained a \n‘private painter’, she never exhibited her paintings publicly. Shortly before her death, she destroyed most of \nher private documents, including countless photographs and letters. But she carefully preserved the sketches, \ngouaches and collages that she still had. Many are ‘untitled’, others bear the names of mythical characters or \nrecall the stations of her life, such as Bonaparte, for example, the street where her Paris fat was located. As she \nhad always been very critical and strict with herself, in the end she must have found these works, which are as \ncolourful as her life, worthy of outliving her. Te artist lef the world a collection of abstract paintings, carefully \nglued to cardboard featuring a note on the rear side, some also signed. When the estate of Jacques Doucet, who \nwas one of her frst and perhaps the most important buyer from her Paris beginnings, came up for auction in \n1972, the world, and probably Eileen Gray herself, realised the real signifcance of her work for the frst time: \nthe lacquered screen Le Destin achieved a record price of 18,000 British pounds. In the same year, the British \nRoyal Society of Arts awarded her the title Royal Designer of Industry (RDI). Eileen Gray did not appear at the \nceremony; self-promotion had never been her thing. A few years afer this late claim to fame, in 1976, Eileen \nGray died at the age of 98 in her adopted home of Paris.\n",126,{"image":499,"text":500,"number":501},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.127.png","ARTWORKS LEFT TO RIGHT\nCassis. Gouache on paper, c. 1921–25\nBonaparte. Gouache on paper, c. 1926–35\nLa Lune. Gouache on paper, c. 1920–29\nP 125\n",127,{"image":503,"text":504,"number":505},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.128.png","RUG Kilkenny Rug, designed c. 1920–35\nPRODUCT Non Conformist Armchair, designed 1926\nARTWORK LEFT Untitled. Collage and stencil print c. 1960\nARTWORK RIGHT Untitled. Stencil print, c. 1960\n",128,{"image":507,"text":508,"number":509},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.129.png","Green is Ireland’s national colour. Eileen Gray’s native island has lef its mark in many of her paintings \nand especially in the Kilkenny carpet. Tat she would “receive something enduring” in the Irish capital \nwas something the designer had still dreamed of. In 2002, a quarter of a century afer her death, this dream \ncame true: with the Eileen Gray exhibition in Dublin’s National Museum of Ireland, where the poster for the \nopening featured a photo of the Non Conformist Armchair. Green is also the colour of hope, and, with regard \nto her painterly works, it never deserted the aged Eileen Gray. She had always hoped that new textile works \nof art would once again emerge from “old designs”. A wish that has been fulflled with the Eileen Gray rug \ncollection by ClassiCon. \nIMPRINT\nPhotos by Eileen Gray, © National Museum of Ireland, Dublin\nText by Charlotte Kerner, author, Lübeck \nAll Eileen Gray Designs are authorised by The World Licence Holder Aram Designs Ltd, London\n© ClassiCon GmbH, Munich\nP 127\n",129,{"image":511,"text":512,"number":513},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.130.png","LABEL STEP. Ethically and ecologically sustainable \nA partnership that creates ethically and ecologically sustainable conditions: all ClassiCon rugs \nare manufactured in close collaboration with Label STEP in Nepal. Label STEP is a non-profit \norganisation that guarantees fair working and living conditions for the people in the production \nareas and only accepts environmentally friendly rug manufacturing processes. All our rugs are \nhandcrafted by skilled artisans. Each step of the process, whether it’s the creation of the design \ntemplates, the dyeing of the wool, trimming or finishing, is executed with the utmost care.\nP 128\n",130,{"image":515,"text":516,"number":517},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.131.png","CASTELLAR RUG 1920–1935\nEILEEN GRAY\nP 221\nAll products featured here are only suitable for indoor use\n(except for: Pallas Table by Konstantin Grcic).\n",131,{"image":519,"text":520,"number":521},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.132.png","HOME\nTe things we choose to surround ourselves with are as unique and\nindividual as the personality of their owners. Furniture lends a room\nthe desired atmosphere and expresses our personal lifestyle. For \nthis reason, we ofer you pieces with a distinctive character, pieces \nthat are durable and unique – and thus become loyal companions \nfor a lifetime.\nDESIGN IN DIALOGUE\nEach piece of ClassiCon furniture is a team player with personality. \nIt blends confdently into any interior. It defnes a space without \ndominating it, engaging in a dialogue with the architecture. Its \nversatility can be seen in a wide variety of places, a selection of which \nis shown here. You can fnd much more and constantly updated new \nreference objects on Instagram at #ClassiCon.\nWhere have you recently used ClassiCon furniture? We would be \ndelighted to hear from you about your most interesting projects.\n#ClassiCon\n",132,{"image":523,"text":524,"number":525},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.133.png","DAY BED 1925\nEILEEN GRAY\nP 215\nP 131\n",133,{"image":527,"text":528,"number":529},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.134.png","P 132\n",134,{"image":531,"text":532,"number":533},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.135.png","VENUS CHAIR 2006\nKONSTANTIN GRCIC\nP 214\nDIANA B SIDE TABLE 2002\nKONSTANTIN GRCIC\nP 216\nCHAOS CHAIR 2001\nKONSTANTIN GRCIC\nP 214\n",135,{"image":535,"text":15,"number":536},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.136.png",136,{"image":538,"text":539,"number":540},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.137.png","ORCUS HOME DESK 1993\nKONSTANTIN GRCIC\nP 218\nMARS CHAIR 2003\nKONSTANTIN GRCIC\nP 214\nPALLAS TABLE 2003\nKONSTANTIN GRCIC\nP 218\nDAY BED 1925\nEILEEN GRAY\nP 215\nDIANA B SIDE TABLE 2002\nKONSTANTIN GRCIC\nP 216\nCHAOS CHAIR 2001\nKONSTANTIN GRCIC\nP 214\nP 135\n",137,{"image":542,"text":15,"number":543},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.138.png",138,{"image":545,"text":546,"number":547},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.139.png","DE STIJL TABLE 1922\nEILEEN GRAY\nP 216\nWENDINGEN RUG 1920–1935\nEILEEN GRAY\nP 221\nP 137\n",139,{"image":549,"text":15,"number":550},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.140.png",140,{"image":552,"text":553,"number":554},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.141.png","CASSIS RUG 1920–1935\nEILEEN GRAY\nP 221\nADJUSTABLE TABLE E1027 1927\nEILEEN GRAY\nP 216\nBIBENDUM ARMCHAIR 1926\nEILEEN GRAY\nP 214\nBOW COFFEE TABLE NO. 2 2018\nGUILHERME TORRES\nP 216\nFORMA TABLE LAMP 2023\nCHRISTIAN HAAS\nP 220\nMATÉRIA SIDE TABLE MARBLE 2024\nCHRISTIAN HAAS\nP 217\nWENDINGEN RUG 1920–1935\nEILEEN GRAY\nP 221\nP 139\n",141,{"image":556,"text":557,"number":558},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.142.png","SELENE PENDANT LAMP 2006\nSANDRA LINDNER\nP 220\nSAX SIDE TABLE 2017\nCHRISTOPH BÖNINGER\nP 217\nTRITON BAR STOOL 2007\nCLEMENS WEISSHAAR\nP 215\n",142,{"image":560,"text":561,"number":562},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.143.png","P 141\n",143,{"image":564,"text":565,"number":566},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.144.png","PAILLA WALL LAMP 1927\nEILEEN GRAY\nP 220\nSATISH BAR STOOL 1931\nECKART MUTHESIUS\nP 215\nTADAIMA CONSOLE 2017\nA+A COOREN\nP 219\nROATTINO FLOOR LAMP 1931\nEILEEN GRAY\nP 220\nPETITE COIFFEUSE 1926\nEILEEN GRAY\nP 217\n",144,{"image":568,"text":569,"number":570},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.145.png","P 143\n",145,{"image":572,"text":573,"number":574},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.146.png","ROQUEBRUNE RUG 1920–1935\nEILEEN GRAY\nP 221\nBELL COFFEE TABLE 2012\nSEBASTIAN HERKNER\nP 216\nBELL SIDE TABLE MARBLE 2023\nSEBASTIAN HERKNER\nP 216\nBELL SIDE TABLE 2012\nSEBASTIAN HERKNER\nP 216\nBOW COFFEE TABLE NO. 3 2018\nGUILHERME TORRES\nP 216\nBOW COFFEE TABLE NO. 5 2018\nGUILHERME TORRES\nP 216\n",146,{"image":576,"text":577,"number":578},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.147.png","P 145\n",147,{"image":580,"text":581,"number":582},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.148.png","CORKER SERIES 2022\nHERZOG & DE MEURON\nP 215\nODIN SOFA 2005\nKONSTANTIN GRCIC\nP 215\nP 146\n",148,{"image":584,"text":15,"number":585},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.149.png",149,{"image":587,"text":588,"number":589},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.150.png","EUVIRA ROCKING CHAIR 2013\nJADER ALMEIDA\nP 214\nEUVIRA LOUNGE CHAIR 2015\nJADER ALMEIDA\nP 214\nMATÉRIA SIDE TABLE 2021\nCHRISTIAN HAAS\nP 217\nMATÉRIA LONG TABLE 2021\nCHRISTIAN HAAS\nP 217 \nPLISSÉE FLOOR LAMP 2020\nSEBASTIAN HERKNER\nP 220\nP 148\n",150,{"image":591,"text":15,"number":592},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.151.png",151,{"image":594,"text":15,"number":595},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.152.png",152,{"image":597,"text":598,"number":599},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.153.png","SHIA VASE 2020\nCLASSICON\nP 219\nMATÉRIA TABLE SERIES 2021\nCHRISTIAN HAAS\nP 217\nKILKENNY RUG 1920–1935\nEILEEN GRAY\nP 221\nLOTA SOFA 1924\nEILEEN GRAY\nP 215\nSELENE PENDANT LAMP 2006\nSANDRA LINDNER\nP 220\nPLISSÉE FLOOR LAMP 2020\nSEBASTIAN HERKNER\nP 220\nP 151\n",153,{"image":601,"text":15,"number":602},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.154.png",154,{"image":604,"text":605,"number":606},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.155.png","LOU PEROU TABLE 1926\nEILEEN GRAY\nP 218\nTUBE LIGHT FLOOR LAMP 1927\nEILEEN GRAY\nP 220\nBIBENDUM ARMCHAIR 1926\nEILEEN GRAY\nP 214\nADJUSTABLE TABLE E1027 1927\nEILEEN GRAY\nP 216\nP 153\n",155,{"image":608,"text":609,"number":610},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.156.png","ST. TROPEZ RUG 1920–1935\nEILEEN GRAY\nP 221\nROATTINO FLOOR LAMP 1931\nEILEEN GRAY\nP 220\nBIBENDUM ARMCHAIR 1926\nEILEEN GRAY\nP 214\nNYMPHENBURG COAT STAND 1908\nOTTO BLÜMEL\nP 219\nUSHA UMBRELLA STAND 1932\nECKART MUTHESIUS\nP 219\n",156,{"image":612,"text":613,"number":614},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.157.png","P 155\n",157,{"image":616,"text":15,"number":617},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.158.png",158,{"image":619,"text":620,"number":621},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.159.png","TUBE LIGHT FLOOR LAMP 1927\nEILEEN GRAY\nP 220\nDE STIJL RUG 1920–1935\nEILEEN GRAY\nP 221\nADJUSTABLE TABLE E1027 1927\nEILEEN GRAY\nP 216\nMONTE CARLO SOFA 1929\nEILEEN GRAY\nP 215\nP 157\n",159,{"image":623,"text":15,"number":624},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.160.png",160,{"image":626,"text":627,"number":628},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.161.png","MATÉRIA COFFEE TABLE 2021\nCHRISTIAN HAAS\nP 217\nFORMA TABLE LAMP 2023\nCHRISTIAN HAAS\nP 220\nEUVIRA ROCKING CHAIR 2013\nJADER ALMEIDA\nP 214\nMONOLITH RUG 1920–1935\nEILEEN GRAY\nP 221\nULISSE DAYBED 2016\nKONSTANTIN GRCIC\nP 215\nDIANA B SIDE TABLE 2002\nKONSTANTIN GRCIC\nP 216\nLANTERN LIGHT FLOOR LAMP 2017\nNERI&HU\nP 220\nP 159\n",161,{"image":630,"text":15,"number":631},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.162.png",162,{"image":633,"text":634,"number":635},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.163.png","PLISSÉE FLOOR LAMP 2020\nSEBASTIAN HERKNER\nP 220\nCASTELLAR MIRROR 1927\nEILEEN GRAY\nP 218\nBELL LIGHT PENDANT LAMP 2013\nSEBASTIAN HERKNER\nP 220\nVOLKSHAUS STOOL 2024\nHERZOG & DE MEURON\nP 215\nVOLKSHAUS SIDE TABLE 2024\nHERZOG & DE MEURON\nP 217\nROQUEBRUNE RUG 1920–1935\nEILEEN GRAY\nP 221\nBOW COFFEE TABLE NO. 3 MARBLE 2019\nGUILHERME TORRES\nP 216\nP 161\n",163,{"image":637,"text":638,"number":639},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.164.png","P 162\n",164,{"image":641,"text":642,"number":643},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.165.png","PLI SIDE TABLE LOW 2016\nVICTORIA WILMOTTE\nP 217\nROQUEBRUNE RUG 1920–1935\nEILEEN GRAY\nP 221\nVENUS CHAIR 2006\nKONSTANTIN GRCIC\nP 214\nPLI TABLE 2017\nVICTORIA WILMOTTE\nP 218\nBOWL 2014\nCLASSICON\nP 219\nVASE 2014\nCLASSICON\nP 219\nPIEGA MIRROR OBJECT MEDIUM 2018\nVICTORIA WILMOTTE\nP 219\nSHIA VASE 2020\nCLASSICON\nP 219\n",165,{"image":645,"text":646,"number":647},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.166.png","ADJUSTABLE TABLE E1027 1927\nEILEEN GRAY\nP 216\nLA LUNE RUG 1920–1935\nEILEEN GRAY\nP 221\nDAY BED 1925\nEILEEN GRAY\nP 215\n",166,{"image":649,"text":650,"number":651},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.167.png","P 165\n",167,{"image":653,"text":15,"number":654},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.168.png",168,{"image":656,"text":657,"number":658},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.169.png","NON CONFORMIST ARMCHAIR 1926\nEILEEN GRAY\nP 214\nOCCASIONAL TABLE 1927\nEILEEN GRAY\nP 217\nADJUSTABLE TABLE E1027 1927\nEILEEN GRAY\nP 216\nP 167\n",169,{"image":660,"text":661,"number":662},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.170.png","CYPRIS MIRROR 2015\nNINA MAIR\nP 219\nBELL SIDE TABLE 2012\nSEBASTIAN HERKNER\nP 216\nP 168\n",170,{"image":664,"text":15,"number":665},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.171.png",171,{"image":667,"text":668,"number":669},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.172.png","BIBENDUM ARMCHAIR 1926\nEILEEN GRAY\nP 214\nPLI SIDE TABLE HIGH & LOW 2017 \u002F 2016 \nVICTORIA WILMOTTE\nP 217\nBONAPARTE ARMCHAIR 1935\nEILEEN GRAY\nP 214\nWENDINGEN RUG 1920–1935\nEILEEN GRAY\nP 221\nDIANA A SIDE TABLE 2002\nKONSTANTIN GRCIC\nP 216\nEUVIRA ROCKING CHAIR 2013\nJADER ALMEIDA\nP 214\n",172,{"image":671,"text":672,"number":673},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.173.png","P 171\n",173,{"image":675,"text":15,"number":676},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.174.png",174,{"image":678,"text":679,"number":680},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.175.png","PIEGA MIRROR OBJECT MEDIUM 2018\nVICTORIA WILMOTTE\nP 219\nCORKER NO. 1 MARBLE 2023\nHERZOG & DE MEURON\nP 215\nBELL SIDE TABLE MARBLE 2023\nSEBASTIAN HERKNER\nP 216\nBOW COFFEE TABLE NO. 3 MARBLE 2019\nGUILHERME TORRES\nP 216\nROQUEBRUNE CHAIR 1927\nEILEEN GRAY\nP 214\nJEAN TABLE 1929\nEILEEN GRAY\nP 218\nP 173\n",175,{"image":682,"text":683,"number":684},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.176.png","PALLAS TABLE 2003\nKONSTANTIN GRCIC\nP 218\nMARS CHAIR 2003\nKONSTANTIN GRCIC\nP 214\nP 174\n",176,{"image":686,"text":15,"number":687},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.177.png",177,{"image":689,"text":15,"number":690},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.178.png",178,{"image":692,"text":693,"number":694},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.179.png","RIVOLI TABLE 1928\nEILEEN GRAY\nP 217\nROQUEBRUNE CHAIR 1927\nEILEEN GRAY\nP 214\nDOUBLE X TABLE 1928\nEILEEN GRAY\nP 218\nP 177\n",179,{"image":696,"text":697,"number":698},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.180.png","MUNICH LOUNGE CHAIR 2009\nSAUERBRUCH HUTTON\nP 214\nBELL COFFEE TABLE 2012\nSEBASTIAN HERKNER\nP 216\nBELL SIDE TABLE 2012\nSEBASTIAN HERKNER\nP 216\nBIBENDUM ARMCHAIR 1926\nEILEEN GRAY\nP 214\nP 178\n",180,{"image":700,"text":15,"number":701},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.181.png",181,{"image":703,"text":704,"number":705},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.182.png","EUVIRA ROCKING CHAIR 2013\nJADER ALMEIDA\nP 214\nBELL COFFEE TABLE 2012\nSEBASTIAN HERKNER\nP 216\nBELL SIDE TABLE 2012\nSEBASTIAN HERKNER\nP 216\nBELL LIGHT PENDANT LAMP 2013\nSEBASTIAN HERKNER\nP 220\n",182,{"image":707,"text":708,"number":709},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.183.png","P 181\n",183,{"image":711,"text":712,"number":713},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.184.png","TUBE LIGHT FLOOR LAMP 1927 \nEILEEN GRAY \nP 220\nLANTERN LIGHT TABLE LAMP 2017 \nNERI&HU \nP 220\nAËRIAS CHAIR 2018 \nTILLA GOLDBERG \nP 214\nCYPRIS MIRROR 2015 \nNINA MAIR \nP 219\nPEGASUS HOME DESK 2014 \nTILLA GOLDBERG \nP 218\nBELL LIGHT PENDANT LAMP 2013 \nSEBASTIAN HERKNER \nP 220\nP 182\n",184,{"image":715,"text":15,"number":716},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.185.png",185,{"image":718,"text":15,"number":719},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.186.png",186,{"image":721,"text":722,"number":723},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.187.png","CORKER NO. 1 2022\nHERZOG & DE MEURON\nP 215\nCORKER NO. 3 2022\nHERZOG & DE MEURON\nP 215\nVOLKSHAUS LOUNGE CHAIR 2024\nHERZOG & DE MEURON\nP 214\nVOLKSHAUS STOOL 2024\nHERZOG & DE MEURON\nP 215\nMONOLITH RUG 1920–1935\nEILEEN GRAY\nP 221\nMATÉRIA COFFEE TABLE 2021\nCHRISTIAN HAAS\nP 217\nMATÉRIA SIDE TABLE 2021\nCHRISTIAN HAAS\nP 217\nFORMA TABLE LAMP 2023\nCHRISTIAN HAAS\nP 220\nEUVIRA ROCKING CHAIR 2013\nJADER ALMEIDA\nP 214\nP 185\n",187,{"image":725,"text":15,"number":726},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.188.png",188,{"image":728,"text":729,"number":730},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.189.png","BOW COFFEE TABLE NO. 4 2018\nGUILHERME TORRES\nP 216\nBOW COFFEE TABLE NO. 5 2018\nGUILHERME TORRES\nP 216\nBOW COFFEE TABLE NO. 3 2018\nGUILHERME TORRES\nP 216\nP 187\n",189,{"image":732,"text":733,"number":734},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.190.png","NOTOS STANDING DESK 1997\nTHOMAS KÜHL + ANDREAS KROB\nP 219\nORBIS FLOOR LAMP 1994\nHERBERT H. SCHULTES\nP 220\nDIANA B SIDE TABLE 2002\nKONSTANTIN GRCIC\nP 216\nPEGASUS HOME DESK 2014\nTILLA GOLDBERG\nP 218\nBELL LIGHT PENDANT LAMP 2013\nSEBASTIAN HERKNER\nP 220\nMUNICH ARMCHAIR 2011\nSAUERBRUCH HUTTON\nP 214\nP 188\n",190,{"image":736,"text":15,"number":737},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.191.png",191,{"image":739,"text":15,"number":740},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.192.png",192,{"image":742,"text":743,"number":744},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.193.png","PLISSÉE PENDANT LAMP 2023\nSEBASTIAN HERKNER\nP 220\nSATURN COAT STAND 2007\nBARBER OSGERBY\nP 219\nBANU STOOL 1931\nECKART MUTHESIUS\nP 215\nP 191\n",193,{"image":746,"text":747,"number":748},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.194.png","ORCUS HOME DESK 1993\nKONSTANTIN GRCIC\nP 218\nROQUEBRUNE CHAIR 1927\nEILEEN GRAY\nP 214\nORBIS FLOOR LAMP 1994\nHERBERT H. SCHULTES\nP 220 \nAIXIA CHAIR 1928\nEILEEN GRAY\nP 214\nMANDU VALET STAND 1932\nECKART MUTHESIUS\nP 219\nP 192\n",194,{"image":750,"text":15,"number":751},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.195.png",195,{"image":753,"text":15,"number":754},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.196.png",196,{"image":756,"text":757,"number":758},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.197.png","All products featured here are only suitable for indoor use\n(except for: Pallas Table by Konstantin Grcic).\nCORKER NO. 1 2022\nHERZOG & DE MEURON\nP 215\nCORKER NO. 3 2022\nHERZOG & DE MEURON\nP 215\nP 195\n",197,{"image":760,"text":761,"number":762},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.198.png","CONTRACT\nOur furniture is a commitment to substance and quality – in private \nspaces as well as in ofces, lobbies, business premises and hotels. \nWe work very closely with designers and manufacturers, so this \nenables us to implement individual requirements quickly and reliably. \nTailored to the respective project and the people behind it.\nAT HOME EVERYWHERE\nElegance is an international language that is understood worldwide. \nClassiCon combines it with timelessness and quality crafsmanship, which \nis why our furniture can be found in hotels, bars and restaurants all over the \nworld. Te pieces defne the mood in every interior, and each one is diferent. \nWe are showcasing some examples here, but an even larger and constantly \nupdated selection can be found on our Instagram channel #ClassiCon.\nIn which location have you used ClassiCon products? We’d love to hear \nabout your latest projects.\n#ClassiCon\n",198,{"image":764,"text":765,"number":766},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.199.png","VOLKSHAUS LOUNGE CHAIR\nP 197\n",199,{"image":768,"text":15,"number":769},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.200.png",200,{"image":771,"text":772,"number":773},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.201.png","VOLKSHAUS BASEL BOUTIQUE HOTEL, BASEL \u002F CH \nAfer undergoing modernisation by Herzog & de Meuron, the former \ncommunity centre, built in 1925 in Kleinbasel, unites a bar, a brasserie, \nevent rooms and a new boutique hotel under one roof. Te architects \ndeveloped elegant interiors for the hotel that interpret the spirit of the \nbuilding and its period in a contemporary way. Tey designed a range \nof oak furniture consisting of a lounge chair and stool with seats and \nbackrests of hard-wearing cord, and a matching side table.\nVOLKSHAUS LOUNGE CHAIR, VOLKSHAUS STOOL, VOLKSHAUS SIDE TABLE\nP 199\n",201,{"image":775,"text":776,"number":777},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.202.png","GERMAN AMBASSADOR’S RESIDENCE, PARIS \u002F FR\nWhen refurbishing the prestigious ofcial reception rooms in the residence \nof the German ambassador to the OECD in Paris, interior designer \nUlrike Wattenbach used numerous pieces of furniture by ClassiCon, both \ncontemporary and classic designs that convey Franco-German design \nnarratives: the Bell Cofee Table and the Bell Side Table by Sebastian Herkner \nand the Pli Side Table by Victoria Wilmotte, as well as the Bibendum \nArmchair, the Adjustable Table E1027 and the Roattino Floor Lamp by \nEileen Gray, who was a Parisian by choice.\nBIBENDUM ARMCHAIR, ADJUSTABLE TABLE E1027\nBELL TABLE\n",202,{"image":779,"text":780,"number":781},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.203.png","HOTEL REGINA EXPERIMENTAL BIARRITZ, BIARRITZ \u002F FR \nSpectacularly situated on a clif on the Atlantic Ocean, the 5-star luxury \nhotel Regina Experimental Biarritz has recently been given a new interior \nby Dorothée Meilichzon. She designed the bar that is located in the atrium \nof the elegant Belle Époque building as a tribute to the legendary designer \nand architect Eileen Gray. Consequently, Meilichzon’s choice of furnishings \nincludes the Bar Stool No. 2 and the Roattino Floor Lamp by ClassiCon, \nwhich were designed by Eileen Gray in 1928 and 1931 respectively. \nBAR STOOL NO. 2\nROATTINO FLOOR LAMP\nP 201\n",203,{"image":783,"text":784,"number":785},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.204.png","SHERATON GRAND TBILISI \nMETECHI PALACE\nTBILISI, EUVIRA ROCKING CHAIR\nFAIRMONT HOTEL \nVIER JAHRESZEITEN\nHAMBURG, PLI SIDE TABLE\nNORDSTROM \nFLAGSHIP STORE\nNEW YORK, BELL TABLE\nHOTEL DE TOURREL\nST.-RÉMY-DE-PROVENCE, ORCUS HOME DESK, ROQUEBRUNE CHAIR, TRITON BAR STOOL\nFOUR SEASONS HOTEL\nNEW YORK, BELL TABLE\nHILTON HOTEL \nBRISBANE, \nMUNICH LOUNGE CHAIR\nAUDEMARS PIGUET \nLOUNGE GALLERY \nWEEKEND BERLIN\nBERLIN, BAR STOOL NO. 2\nSCHNEEW[EYES]S OPTIK\nLEIPZIG, EUVIRA ROCKING CHAIR, BELL TABLE, ODIN SOFA, \nTRITON BAR STOOL\nTHE RITZ-CARLTON\nMELBOURNE, BELL TABLE\n",204,{"image":787,"text":788,"number":789},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.205.png","JW MARRIOTT \nRESORT & SPA\nVENICE, SELENE PENDANT LAMP\nTHE PIER, CATHAY PACIFIC’S BUSINESS CLASS \nLOUNGE, HONG KONG INTERNATIONAL AIRPORT\nHONG KONG, SELENE PENDANT LAMP\nJUNSHAN CULTURAL CENTER\nBEIJING, BELL SIDE TABLE\nGOLVET RESTAURANT\nBERLIN, MUNICH ARMCHAIR\nJIMMY CHOO STORE\nLONDON, BELL TABLE\nLE LABO\nMELBOURNE, ODIN SOFA\nGAGGENAU FLAGSHIP STORE\nMIAMI, BOW COFFEE TABLE SERIES\nP 203\n",205,{"image":791,"text":792,"number":793},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.206.png","NEW YORK BAR IM HOTEL ESTREL, BERLIN \u002F DE \nIn Germany’s largest hotel, the Estrel in Berlin-Neukölln, Tanja Lincke \nArchitekten have created a glamorous bar. With its cosmopolitan fair, \nchoice of materials and eccentric colour scheme it is reminiscent of typical \nbars in the metropolis of New York. With their shiny metallic surfaces, the \nPli Side Table and the Bow Cofee Table by ClassiCon perfectly complement \nthe furnishing concept of this elegant, atmospherically lit space that \nfeatures a central bar counter.\nBOW COFFEE TABLE SERIES\nPLI SIDE TABLE HIGH & LOW\n",206,{"image":795,"text":796,"number":797},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.207.png","HOTEL HERMITAGE, LUCERNE \u002F CH\nUnder the direction of the internationally operating architecture frm \nHerzog & de Meuron, this traditional hotel on Lake Lucerne is currently \nreinventing itself – with a spectacular façade design and contemporary \ninteriors that unite the highest design standards with exceptional comfort. \nTe newly designed bar welcomes guests with its relaxed ambience, \nfeaturing furniture in red and in natural colours, including the Corker \nrange by ClassiCon, which was designed by Herzog & de Meuron. It also \nprovides a magnifcent view of the lake and the mountains. \nCORKER SERIES\nP 205\n",207,{"image":799,"text":800,"number":801},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.208.png","CHANGI LOUNGE\nJEWEL CHANGI AIRPORT\nSINGAPORE, BOW COFFEE TABLE, \nLANTERN LIGHT TABLE LAMP\nKADEWE\nBERLIN, SELENE PENDANT LAMP\nSLS LUX BRICKELL \nMIAMI, BELL TABLE\nMANDARIN ORIENTAL HOTEL\nLAGO DI COMO, BOW COFFEE TABLE SERIES\nBEIRUT TERRACES \nRESIDENCES \nBEIRUT, SELENE PENDANT LAMP\nRELAIS DE CHAMBORD\nCHAMBORD, PIEGA MIRROR OBJECT\nW HOTEL \nISTANBUL, BELL TABLE, EUVIRA ROCKING CHAIR\n",208,{"image":803,"text":804,"number":805},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.209.png","SCHREIBEREI\nRESTAURANT\nMUNICH, \nPIEGA MIRROR OBJECT\nTHE WORK PROJECT\nSINGAPORE, BIBENDUM ARMCHAIR, ADJUSTABLE TABLE E1027\nTHE MAYBOURNE RIVIERA\nROQUEBRUNE-CAP-MARTIN, ROATTINO FLOOR LAMP\nHOTEL MAISTRA 160\nPONTRESINA \u002F ST. MORITZ, EUVIRA ROCKING CHAIR, ROATTINO \nFLOOR LAMP, BIBENDUM ARMCHAIR, ADJUSTABLE TABLE E1027\nLANE CRAWFORD\nSHANGHAI, ADJUSTABLE TABLE E1027\nPORSCHE STUDIO \nCHEONGDAM\nSEOUL, SELENE PENDANT LAMP\nCREUTZ & PARTNERS \nGLOBAL ASSET MANAGEMENT\nBEILER, TRITON BAR STOOL\n",209,{"image":807,"text":808,"number":809},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.210.png","TOKYO GARDEN TERRACE KIOICHO, TOKYO \u002F JP \nSurrounded by a large public garden, a huge complex consisting of ofces, apartments, \ncommercial premises, hotel and leisure spaces has been created in the centre of Tokyo by the \nplanners Nikken Sekkai LTD and Kohn Pedersen Fox Associates PC. Several Monte Carlo \nSofas by Eileen Gray can be found in the prestigious reception area of the ofce building.\nMONTE CARLO SOFA\nP 208\n",210,{"image":811,"text":812,"number":813},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.211.png","DESIGNERS\nTe international designers in our portfolio are separated by decades or \nentire epochs. What unites them is their creative exploration \nof materials, forms and technologies – and the aspiration to create \noutstanding products.\nTANGIBLY DURABLE \nFrom idea to sketch, to draf, to prototype – that’s how it was back in \n1925 when Eileen Gray’s Day Bed was created, and that’s how it still is \ntoday. Despite digitisation, in the frst instance most furniture designers \nthink with their hands. Te tactile quality of the shapes and materials is \nalready existent during the design process and this is what characterises \nClassiCon furniture. \n#ClassiCon\nMore stories at www.classicon.com\n",211,{"image":815,"text":816,"number":817},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.212.png","TAIDGH O’NEILL, 1980\nThe artist and architect Taidgh O’Neill \nlives and works in Los Angeles. With \nhis background as a trained craftsman \nand studies of fine arts, the designer \ncombines references to abstract paint-\ning and sculpture in his objects.\nTaidgh\nSEBASTIAN HERKNER, \n1981\nSebastian Herkner studied product \ndesign at the HfG Ofenbach am Main. \nIn 2006, he founded his own studio for \nobjects, interior design and exhibition \ndesign. With his Bell Table design from \n2012, which is part of the ClassiCon \ncollection, he succeeded in taking his \nfirst big step towards international \nrecognition. Today, Herkner is one of \nthe most sought after designers of his \ngeneration. This success is reflected \nin numerous distinctions and awards \n– among them, in 2011, the Young \nTalent Award of the Design Award of \nthe Federal Republic of Germany and \nthe appointment as Guest of Honour \nof imm Cologne 2016, in the course of \nwhich Herkner was asked to design \n“Das Haus – Interiors on Stage”. \nMaison & Objet Paris named him De-\nsigner of the Year 2019; several other \nawards, including the German Design \nAward, can be added to the list. \nIn 2021, Elle Deco honoured him with \nthe Best International Designer award. \nBell, Plissée\nA+A COOREN, 1974 \u002F1973\nA+A Cooren is a multidisciplinary \ndesign studio based in Paris, designing \nlamps, objects, furniture and interiors. \nIt was founded by the Japanese-French \ndesigner couple Aki and Arnaud Cooren. \nTadaima\nHERBERT H. SCHULTES, 1938 – 2020\nHerbert H. Schultes is one of the most important German \ndesigners. He was honoured with the “Verdienstkreuz am \nBande der Bundesrepublik Deutschland” cross of merit \nand the “Bundespreis für Förderer des Designs” federal \naward from the Ministry of Economics for his commitment \nto design. Numerous products designed by Schultes are \nincluded in the collections of MoMA, New York. Orbis\nHERZOG & DE MEURON\nHerzog & de Meuron was founded in Basel \nin 1978 by Jacques Herzog and Pierre de \nMeuron. The architectural practice is \nmanaged by the two founders, together \nwith the Partners and the CEO. An inter-\nnational team of over 500 individuals work \non projects in Europe, America and Asia. \nBesides other awards, Herzog & de Meuron \nreceived the Pritzker Architecture Prize for \ntheir work, which includes the Tate Modern \nin London, the M+ Museum for Visual \nCulture in Hong Kong, the Allianz Arena in \nMunich and the Elbphilharmonie concert \nhall in Hamburg. Corker, Volkshaus\nNERI & HU, 1965 \u002F 1968\nLyndon Neri and Rossana Hu are the founding partners of the Neri&Hu Design and Research \nOffice, an internationally active design and architectural office headquartered in Shanghai since \n2006. They both studied architecture in Berkeley; Rossana Hu did her master’s degree at \nPrinceton, and Lyndon Neri at Harvard. Today, they are among the most influential forces in \ndesign and architecture in China and beyond. In their designs, they combine western and Asian \ninfluences and consider themselves bridge builders between the cultures. In addition to their \ndesign work, they run Design Republic, a concept store for outstanding international design in \nShanghai – it was among the first places to bring a modern design experience to China. \nLantern Light\nSANDRA LINDNER, 1974\nSandra Lindner works in her own design \noffice in Hamburg. One of her trademarks \nis an intensive interest in sustainability \nand crafts. Selene\nNINA MAIR, 1978\nNina Mair works as a product designer \nand architect in her own studio in Innsbruck, \nAustria. Her goal: creating sustainable \nproducts and spaces that provide identity \nand touch people at an emotional level. \nCypris\nEILEEN GRAY, 1878 –1976\nEileen Gray’s achievement in design and \narchitecture is considered pioneering work \nof Modernism. During her lifetime, she \nwas already honoured by the London Royal \nSociety of Art with the title Royal Designer \nfor Industry, and she is one of few women \nmentioned in the same breath as Le Corbu-\nsier, Mies van der Rohe and Marcel Breuer. \nHer Adjustable Table E1027 is one of the \nmost famous and most-copied designs in \nthe world. It was added to the permanent \ncollection of MoMA, New York, in 1978. In \n1973, Eileen Gray granted the worldwide \nrights to the production and distribution of \nher designs to Aram Designs Ltd, London. \nToday, like the Vereinigte Werkstätten in \nMunich, from which the company emerged \nin 1990, ClassiCon produces Gray’s iconic \nfurniture designs as the sole and rightful \nlicensee. Adjustable Table E1027, Aixia, \nBar Stool No. 1, Bar Stool No. 2, Biben-\ndum, Bonaparte, Brick Screen, Castellar, \nDay Bed, De Stijl, Double X, Folding \nScreen, Jean, Lota, Lou Perou, Menton, \nMonte Carlo, Non Conformist, Occasion-\nal Table, Pailla, Petite Coifeuse, Rivoli, \nRoattino, Roquebrune, Tube Light and \nthe rug collection.\nIPPOLITO FLEITZ GROUP\nTILLA GOLDBERG, 1973\nIppolito Fleitz Group is a multidisciplinary, interna-\ntionally active design studio based in Stuttgart. Tilla \nGoldberg is a member of the management board and \nhead of product design and brand spaces. With her \nteam, she develops space installations, furniture, \nlamps and objects as well as materials and finishes. \nThe claim: providing each individual project with an \nunmistakable signature. Aërias, Pegasus\n",212,{"image":819,"text":820,"number":821},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.213.png","JADER ALMEIDA, 1981\nBrazilian designer Jader Almeida studied \narchitecture and urban development. His \ncontact with masters of Brazilian furniture \ndesign, including Sergio Rodrigues, influ-\nenced Almeida’s understanding of design. \nToday, he works as a product designer and \narchitect, in his own studio in São Paulo. \nHis designs have received numerous nation-\nal and international design awards such as \nthe IF Design Award and the Good Design \nAward Chicago. Euvira\nOTTO BLÜMEL, 1881–1973\nOtto Blümel was director of the United \nWorkshops for Art in Craftsmanship in \nMunich, when he designed the \nNymphenburg Coat Stand. His design \nis entirely under the sign of the new \nideals of his time: it focuses on making \nfunctionality visible and the appreciation \nof craftsmanship. This timeless design \nis still valid today. Nymphenburg\nCLEMENS WEISSHAAR, \n1977– 2021\nClemens Weisshaar was born \nin Munich and studied product \ndesign, among others, at the \nLondon Royal College of Art. \nIn 2002, he joined forces with \nSwedish designer Reed Kram \nto form Kram\u002FWeisshaar. Their \nworks were added to interna-\ntional design collections, in-\ncluding MoMA, New York, and \nCentre Pompidou, Paris. Triton\nECKART MUTHESIUS, \n1904 – 1989\nThe architect Eckart Muthesius \nstudied at the Associated State \nSchool for Applied Arts in Berlin \nand at the Polytechnic in London. \nIn 1931, the Maharajah of Indore \ncommissioned him to build and \nfurnish his palace Manik Bagh; \nMuthesius turned it into an Art \nDeco masterpiece. Banu, \nMandu, Satish, Usha\nORTEGAGUIJARRO, \n1988 \u002F 1989\nStudio OrtegaGuijarro was \nfounded in 2017 by Alex Ortega \nand Carlos Guijarro in Barcelona. \nThe two designers with a back-\nground in industrial and interior \ndesign have set themselves the \ngoal to create individual and \nsurprising everyday solutions. \nSol\nCHRISTOPH BÖNINGER, 1957\nAs his dissertation project, Christoph Böninger \ndesigned the world’s first laptop computer, which \nis on display at the Pinakothek der Moderne in \nMunich. Following many years in design manage-\nment, he founded the Auerberg label in 2010. \nSax, Zelos\nVICTORIA \nWILMOTTE, 1985\nVictoria Wilmotte studied at \nthe Royal College of Art in \nLondon, among others, and \nhas her own design studio in \nParis. Her design process, \nresembling that of a sculptor, \nis special: she weighs \nvolume and emptiness and \nremoves material until she \nhas found ideal angles or \ncurves and polishes the \nsurfaces to the point when \nthey precisely achieve the \nstructure, haptics and light \nrefraction she seeks.\nPiega, Pli\nBARBER OSGERBY, 1969\nEdward Barber and Jay Osgerby founded \ntheir East London studio in 1996, after \nstudying architecture at the Royal College \nof Art. The strength of their creative \npartnership has led to collaborations with \nsome of the world’s most progressive \ncompanies and an output that encom-\npasses architecture, interiors, sculpture, \nproduct and exhibition design, from \nthe iconic Loop Table (1996) to the 2012 \nOlympic Torch. In 2001, Barber Osgerby \nfounded another design studio in London: \nUniversal is considered one of the most \ninnovative design consulting agencies in \nthe world. In 2012, they launched the \nstrategy-based industrial design consul-\ntancy Map Project Ofce. Paris, Saturn\nKONSTANTIN GRCIC, 1965\nAfter training as a cabinet maker, Konstantin \nGrcic studied design at the Royal College \nof Art in London. In 1991, he set up his own \ndesign company Konstantin Grcic Design. \nIn the same year, he presented furniture \ndesigns for ClassiCon. In 2002, ClassiCon \npublished the first book about his work \nand also dedicated a solo exhibition to him \nin Milan. Many of his products won inter-\nnational design awards and are on display \nin museums worldwide, including MoMA, \nNew York, and Centre Pompidou, Paris. \nGrcic and ClassiCon celebrated 25 years of \ncollaboration in 2016 with the publication \nof a limited Black Edition, accompanied by \nan artist’s portfolio. Since 2020, Grcic has \nheld a professorship at the Hamburg Uni-\nversity of Fine Arts and has been appointed \na member of the Academy of Arts in Berlin \nin 2021. Chaos, Diana Series, Mars, Odin, \nOrcus, Pallas, Ulisse, Venus\nGUILHERME TORRES, 1973\nBrazilian Guilherme Torres is famous for his innovative \nresidential and commercial architectural projects as well \nas his interiors and furniture designs. In 2001, he founded \nhis own studio, today headquartered in São Paulo. The \ninternationally renowned architect considers himself to be \na perfectionist who never tires of repeatedly revising and \nimproving things. Bow\nSAUERBRUCH HUTTON, 1955 \u002F 1957\nLouisa Hutton and Matthias Sauerbruch established their office for \narchitecture, urban development and design in 1989. Their holistic \napproach is seen in projects where functionality is untied with exacting \narchitectural demands, and sensuality with environmental sustain-\nability. A model and drawings of their first high-rise building, the GSW \nHeadquarters in Berlin (1999), is part of the architecture collection of \nMoMA. New York. Both have taught at various international institutions, \nincluding the Harvard Graduate School of Design. Munich\nCHRISTIAN HAAS, 1974\nChristian Haas desgins products in various \ndisciplines, from furniture and lamps to porcelain \nand glass. In 2000, the industrial designer founded \nhis own studio. Today, he lives and works in Porto. \nMatéria, Forma\nFurther information about our designers is available on our website www.classicon.com\n",213,{"image":823,"text":824,"number":825},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.214.png","NYMPHENBURG COAT STAND 1908\nOTTO BLÜMEL\nP 219\nNON CONFORMIST ARMCHAIR 1926\nEILEEN GRAY\nP 214\nORBIS DESK LAMP 1994\nHERBERT H. SCHULTES\nP 220\nROATTINO FLOOR LAMP 1931\nEILEEN GRAY\nP 220\nBELL SIDE TABLE 2012\nSEBASTIAN HERKNER\nP 216\nCHAOS CHAIR 2001\nKONSTANTIN GRCIC\nP 214\nP 212\n",214,{"image":827,"text":828,"number":829},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.215.png","PRODUCTS\nIt may sound unusual when referring to a collection \nof design furniture, but we actually feel a great sense\nof responsibility with regard to its compilation: the\nresponsibility to select only the best designs which, \ntogether with the other items in our design range, form\na harmonious, substantial and timeless collection.\nIn one word: ClassiCon.\n",215,{"image":831,"text":832,"number":833},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.216.png","Seating Furniture\nChairs and Armchairs\nVOLKSHAUS LOUNGE CHAIR 2024\nHERZOG & DE MEURON\nH 72 \u002F W 78 \u002F D 70 \u002F SH 41\nSEE PAGES 40, 102, 104, 107, 184, 197, 198\nFrame solid oak, natural, with clear varnish and seat in forest green cord. \nOr frame solid oak, black lacquered and seat in black cord. Optionally \ncushions in various versions. Grey felt gliders.\nAIXIA CHAIR 1928\nEILEEN GRAY\nH 84 \u002F W 40 \u002F D 52 \u002F SH 48 \nSEE PAGES 96, 111, 193\nFrame chrome-plated tubular steel. \nUpholstery polyurethane with \npolyester fibre. Cover in fabric or \nleather. Gliders solid hardwood.\nROQUEBRUNE CHAIR 1927\nEILEEN GRAY\nH 79 \u002F W 45 \u002F D 53 \u002F SH 47\nSEE PAGES 71, 109, 173, 177, 192,\n202\nFrame tubular steel, powder-coated \nin black or chrome-plated. Seat and \nbackrest bend leather, laced. Plastic \ngliders.\nBONAPARTE ARMCHAIR 1935\nEILEEN GRAY\nH 74 \u002F W 62 \u002F D 67 \u002F SH 47\nSEE PAGES 63, 75, 170\nFrame chrome-plated tubular steel. \nBeech frame with rubber webbing.\nUpholstery polyurethane with \npolyester fibre. Cover in fabric or \nleather. Plastic gliders in black.\nVENUS CHAIR 2006\nKONSTANTIN GRCIC\nH 81 \u002F W 53 \u002F D 53 \u002F SH 46\nSEE PAGES 96, 99, 132, 162\nMoulded wood, solid wood veneered \nin oak, natural or black-stained, or \nnatural walnut, with clear varnish. \nBackrest handle bend leather in \nmocha brown. Bend leather gliders \nin mocha brown.\nMARS CHAIR 2003 \nKONSTANTIN GRCIC \nH 76 \u002F W 48 \u002F D 54 \u002F SH 46\nSEE PAGES 19, 96, 100, 135, 174\nBase rigid polyurethane. Seat tubular \nsteel with polyurethane upholstery. \nCover in fabric or leather. Height-\nadjustable metal gliders.\nEUVIRA LOUNGE CHAIR 2015 \nJADER ALMEIDA\nH 73\u002F78 \u002F W 71 \u002F D 74 \u002F SH 42\u002F48\nSEE PAGES 55, 59, 148\nFrame solid oak, natural, brown or \nblack-stained, with clear varnish. \nSeat in hemp-coloured or black nylon \ncord or upholstery polyurethane with \nrubber webbing and cover in fabric \nor leather. Replaceable gliders in felt \nor plastic.\nMUNICH ARMCHAIR 2011\nSAUERBRUCH HUTTON\nH 81 \u002F W 69 \u002F D 54 \u002F SH 47\nSEE PAGES 43, 189, 203\nFrame solid oak or walnut, natural \nor black-stained, with clear varnish. \nSeat frame tubular steel. Upholstery \npolyurethane with polyester fibre. \nCover in fabric or leather. Contrast \nstitching exclusively for premium \nleather. Replaceable gliders in felt \nor plastic. \nEUVIRA ROCKING CHAIR 2013 \nJADER ALMEIDA\nH 68\u002F73 \u002F W 72 \u002F D 77 \u002F SH 41\u002F47\nSEE PAGES 29, 46, 48, 55, 58, 148,\n149, 158, 171, 181, 185, 202, 206, 207\nFrame solid oak, natural, brown or \nblack-stained, with clear varnish. \nSeat in hemp-coloured or black nylon \ncord or upholstery polyurethane with \nrubber webbing and cover in fabric \nor leather. Undersides of skids have \nfelt inserts.\nBIBENDUM ARMCHAIR 1926 \nEILEEN GRAY\nH 72 \u002F W 90 \u002F D 79 \u002F SH 42\nSEE PAGES 16, 24, 27, 46, 69, 73,\n120, 138, 153, 154, 170, 179, 200, 207\nFrame tubular steel, powder-coated \nin black or chrome-plated. Beech \nframe with rubber webbing. Uphol-\nstery polyurethane with polyester \nfibre. Cover in fabric or leather. \nPlastic gliders in black.\nAËRIAS CHAIR 2018\nIPPOLITO FLEITZ GROUP \nTILLA GOLDBERG\nH 82 \u002F W 55 \u002F D 54 \u002F SH 46 \nSEE PAGES 71, 72, 183\nFrame tubular steel, powder-coated \nin black. Seat and backrest frame \nmoulded wood, black lacquered, \ncovered with weaving made of rein-\nforced leather straps. Leather weav-\ning optionally in one or two colour\u002Fs. \nFelt or plastic gliders, replaceable.\nNON CONFORMIST ARMCHAIR 1926\nEILEEN GRAY\nH 78 \u002F W 57 \u002F D 63 \u002F SH 49\nSEE PAGES 81, 110, 126, 166, 212\nFrame chrome-plated tubular steel. \nBeech frame with rubber webbing. \nUpholstery polyurethane with \npolyester fibre. Cover in fabric or \nleather. Plastic gliders in black.\nCHAOS CHAIR 2001 \nKONSTANTIN GRCIC\nH 78 \u002F W 87 \u002F D 70 \u002F SH 43\nSEE PAGES 91, 133, 135, 213\nFrame chrome-plated tubular steel. \nUpholstery polyurethane with poly-\nester fibre. Cover in fabric or leather. \nOne height-adjustable plastic glider \nin black.\nMUNICH LOUNGE CHAIR 2009\nSAUERBRUCH HUTTON\nH 72 \u002F W 97 \u002F D 69 \u002F SH 41\nSEE PAGES 43, 178, 202\nFrame solid oak or walnut, natural \nor black-stained, with clear varnish. \nSeat frame tubular steel with rubber \nwebbing. Upholstery polyurethane \nwith polyester fibre. Cover in fabric \nor leather. Contrast stitching exclus-\nively for premium leather. Replace-\nable gliders in felt or plastic. \n",216,{"image":835,"text":836,"number":837},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.217.png","Stools\nSofas\nBarstools\nBAR STOOL NO. 2 1928\nEILEEN GRAY\nH 74 \u002F W 30 \u002F D 39\nSEE PAGES 45, 201, 202\nFrame sectional steel and floor base \nsteel, lacquered in black or cream. \nTwo stainless steel bars. Upholstery \npolyurethane with polyester fibre. \nCover in fabric or leather. Replaceable \ngliders in felt or plastic.\nBAR STOOL NO. 1 1928\nEILEEN GRAY\nH 70–80 \u002F DM 38\nSEE PAGE 45\nSeat height-adjustable. Threaded \nrod and column chrome-plated steel. \nBase cast aluminium, powder-coated \nin black or white. Upholstery poly-\nurethane with polyester fibre. Cover \nin fabric or leather. Replaceable \ngliders in felt or plastic.\nSATISH BAR STOOL 1931\nECKART MUTHESIUS \nH 78 \u002F DM 36\nSEE PAGES 45, 142\nFrame chrome-plated tubular steel. \nBeech seat frame. Upholstery poly-\nurethane with polyester fibre. Cover \nin fabric or leather. Plastic gliders \nin black.\nTRITON BAR STOOL 2007 \nCLEMENS WEISSHAAR \nH 75 \u002F W 50 \u002F D 49\nSEE PAGES 44, 141, 202, 207\nFrame tubular steel, powder-coated \nwith fine texture in black or chrome-\nplated or copper-plated, with clear \nvarnish. Seat polyurethane, colour-\nlacquered, or covered in bend leather. \nHook for bag in frame colour. Plastic \ngliders in black.\nTRITON COUNTER STOOL 2007 \nCLEMENS WEISSHAAR\nH 65 \u002F W 50 \u002F D 49\nSEE PAGE 44\nFrame tubular steel, powder-coated \nwith fine texture in black or chrome-\nplated or copper-plated, with clear \nvarnish. Seat polyurethane, colour-\nlacquered, or covered in bend leather. \nHook for bag in frame colour. Plastic \ngliders in black.\nMUNICH STOOL 2012\nSAUERBRUCH HUTTON\nH 41 \u002F W 53 \u002F D 42\nSEE PAGE 43\nFrame solid oak or walnut, natural \nor black-stained, with clear varnish. \nUpholstery polyurethane with poly-\nester fibre. Cover in fabric or leather.\nContrast stitching exclusively for \npremium leather. Replaceable gliders \nin felt or plastic.\nVOLKSHAUS STOOL 2024\nHERZOG & DE MEURON\nH 37 \u002F W 65 \u002F D 45\nSEE PAGES 103, 160, 184, 199\nFrame solid oak, natural, with clear \nvarnish and seat in forest green \ncord. Or frame solid oak, black \nlacquered and seat in black cord. \nOptionally cushions in various \nversions. Grey felt gliders.\nBANU STOOL 1931 \nECKART MUTHESIUS\nH 46 \u002F W 52 \u002F D 42\nSEE PAGES 111, 191\nFrame chrome-plated flat steel. \nBeech seat frame. Upholstery poly-\nurethane with polyester fibre. Cover \nin fabric or leather. Replaceable \ngliders in felt or plastic.\nDAY BED & DAY BED GRAND 1925\nEILEEN GRAY\nDay Bed H 60 \u002F W 190 \u002F D 86 \u002F SH ~43\nDay Bed Grand H 60 \u002F W 200 \u002F D 90 \u002F \nSH ~43\nSEE PAGES 21, 35, 131, 135, 165\nAvailable in two sizes. Frame tubular \nsteel, powder-coated in black or \nchrome-plated. Padded beech frame \nwith rubber webbing. Removable \nmattress with Bonell spring core and \npadding of polyurethane and polyes-\nter fibre. Cover in fabric or leather. \nPlastic gliders in black.\nLOTA SOFA 1924\nEILEEN GRAY\nH 85 \u002F W 240 \u002F D 95 \u002F SH 43, \nBox H 55 \u002F W 30 \u002F D 88\nSEE PAGES 8, 49, 51, 150\nPadded beech frame with spring \ninterior. Sideboxes MDF high-gloss \ncolour-lacquered, mounted on plastic\ncasters in black. Loose seat cushion \nwith natural down filling. Loose back \nand side cushions filled with natural \ndown and stabilisers. Cover in fabric \nor leather.\nMONTE CARLO SOFA 1929 \nEILEEN GRAY\nH 60 \u002F W 280 \u002F D 95 \u002F SH 40\nSEE PAGES 17, 157, 208\nFrame chrome-plated tubular steel. \nBeech frame with rubber webbing. \nUpholstery polyurethane with poly-\nester fibre. Cover in fabric or leather. \nHeight-adjustable metal gliders.\nODIN SOFA 2005\nKONSTANTIN GRCIC\nH 74 \u002F W 160 \u002F D 69 \u002F SH 44\nSEE PAGES 9, 53, 146, 202, 203\nFrame tubular steel with rubber web-\nbing. Upholstery polyurethane with \npolyester fibre. Cover in fabric or \nleather. Two recessed grips on back. \nHeight-adjustable metal gliders.\nULISSE DAYBED 2016\nKONSTANTIN GRCIC\nH 78 \u002F W 211 \u002F D 77 \u002F SH 40\u002F46\nSEE PAGE 159\nFrame solid oak or walnut, natural \nor black-stained, with clear varnish. \nMetal components solid brass, un-\nvarnished or black chrome-plated. \nLoose neck pillow and upholstered \ncushion polyurethane with polyester \nfibre. Cover in fabric or leather. \nCushion can be fixed in head and \nfoot area with push buttons. Head-\nboard height-adjustable at three\nsettings. Anti-slip plastic gliders in \nwhite.\nCORKER NO. 1 MARBLE 2023\nHERZOG & DE MEURON\nH 38 \u002F DM 38\nSEE PAGES 40, 41, 172\nStool or side table. Solid marble \nin various versions, matt or \npolished and impregnated. Milled \nfrom one block.\nCORKER NO. 1, NO. 2, NO. 3 2022\nHERZOG & DE MEURON\nNO. 1 H 38 \u002F DM 38, NO. 2 H 40 \u002F \nDM 50, NO. 3 H 48 \u002F DM 47\nSEE PAGES 41, 105, 146, 184, 194, 205\nStool or side table. Available in three \nsizes. Dark cork with impregnation, \nmilled from one block.\nP 215\n",217,{"image":839,"text":840,"number":841},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.218.png","Side and Cofee Tables\nTables\nADJUSTABLE TABLE E1027 1927 \nEILEEN GRAY\nH 64–102 \u002F TH 55–93 \u002F DM 52\nSEE PAGES 18, 73, 78, 153, 156,\n165, 167, 200, 207\nFrame height-adjustable, chrome-\nplated tubular steel. Tabletop clear \ncrystal glass or grey smoked glass, \nor black lacquered metal.\nADJUSTABLE TABLE E1027 \nBLACK VERSION 1927 \nEILEEN GRAY\nH 64–102 \u002F TH 55–93 \u002F DM 52\nSEE PAGES 6, 17, 18, 52, 138, 139, 207\nFrame height-adjustable, tubular \nsteel, powder-coated in black. Table-\ntop clear crystal glass or grey smoked \nglass, or black lacquered metal.\nBELL SIDE & BELL COFFEE TABLE\n2012 \nSEBASTIAN HERKNER\nSide H 53 \u002F DM 50\nCofee H 36 \u002F DM 75\nSEE PAGES 37, 89, 145, 169, 179,\n181, 200, 202, 203, 206, 213\nAvailable in two sizes. Hand-blown \nglass base in various colours. Metal \ntop frame solid brass, with clear var-\nnish. Tabletop crystal glass, black lac-\nquered, or marble tabletop in various \nversions, polished and impregnated. \nOr glass tabletop with inlaid straw \nmarquetry in various versions.\nBELL SIDE & BELL COFFEE TABLE\n2012 \nSEBASTIAN HERKNER\nSide H 53 \u002F DM 50\nCofee H 36 \u002F DM 75\nSEE PAGES 7, 31, 35, 37, 144\nAvailable in two sizes. Hand-blown \nglass base in various colours. Metal \ntop frame solid steel, black lacquered. \nTabletop crystal glass, black lacquered, \nor marble tabletop in various versions, \npolished and impregnated. Or glass \ntabletop with inlaid straw marquetry \nin various versions.\nBELL SIDE & BELL COFFEE TABLE \nCOPPER SPECIAL EDITION 2013 \nSEBASTIAN HERKNER\nSide H 53 \u002F DM 50\nCofee H 36 \u002F DM 75\nSEE PAGES 37, 53\nAvailable in two sizes. Hand-blown \nglass base in quartz grey. Metal top \nframe solid copper, unvarnished, \nwith crystal glass tabletop, black \nlacquered. \nDE STIJL TABLE 1922\nEILEEN GRAY \nH 81 \u002F W 61 \u002F D 64\nSEE PAGE 136\nSolid wood and MDF. Matte \nlacquered in black and white.\nBOW COFFEE TABLE NO. 1, NO. 2, NO. 3, NO. 4, NO. 5, NO. 6 2018 & 2022 \nGUILHERME TORRES\nNO. 1 H 19 \u002F W 70 \u002F D 70, NO. 2 H 25 \u002F W 70 \u002F D 70, NO. 3 H 31 \u002F W 70 \u002F D 70, \nNO. 4 H 19 \u002F W 100 \u002F D 100, NO. 5 H 25 \u002F W 100 \u002F D 100, NO. 6 H 37 \u002F W 100 \u002F D 70\nSEE PAGES 22, 28, 30, 139, 145, 186, 203, 204, 206\nAvailable in three tabletop sizes and four table heights. Table natural or \nburnished solid brass sheet, with clear varnish or solid steel sheet, black \nlacquered. Tabletop crystal glass, black lacquered or marble tabletop in \nNero Marquina or Bianco Carrara, polished and impregnated. \nHeight-adjustable felt gliders.\nBOW COFFEE TABLE NO. 3 MARBLE \n2019 \nGUILHERME TORRES\nH 31 \u002F W 70 \u002F D 70\nSEE PAGES 23, 50, 161, 172\nSolid marble in Nero Marquina or \nBianco Carrara, polished and impreg-\nnated. Height-adjustable felt gliders.\nCORKER NO. 1, NO. 2, NO. 3 2022\nHERZOG & DE MEURON\nNO. 1 H 38 \u002F DM 38, NO. 2 H 40 \u002F \nDM 50, NO. 3 H 48 \u002F DM 47\nSEE PAGES 41, 105, 146, 184, 194, 205\nStool or side table. Available in three \nsizes. Dark cork with impregnation, \nmilled from one block.\nBELL SIDE TABLE MARBLE 2023\nSEBASTIAN HERKNER\nH 53 \u002F DM 50\nSEE PAGES 51, 144, 172 \nSolid marble in various versions, \nmatt or polished and impregnated.\nCORKER NO. 1 MARBLE 2023\nHERZOG & DE MEURON\nH 38 \u002F DM 38\nSEE PAGES 40, 41, 172\nStool or side table. Solid marble \nin various versions, matt or \npolished and impregnated. Milled \nfrom one block.\nDIANA C SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 34 \u002F W 47 \u002F D 36\nSEE PAGE 95\nSheet steel, powder-coated with \nfine texture in various colours. \nBottom covered with polyethylene.\nDIANA B SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 53 \u002F W 47 \u002F D 43\nSEE PAGES 61, 93, 94, 133, 135,\n159, 188\nSheet steel, powder-coated with \nfine texture in various colours. \nBottom covered with polyethylene.\nDIANA A SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 42 \u002F W 53 \u002F D 25\nSEE PAGES 93, 95, 171\nSheet steel, powder-coated with \nfine texture in various colours. \nBottom covered with polyethylene.\n",218,{"image":843,"text":844,"number":845},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.219.png","MATÉRIA TABLE SERIES MARBLE\n2024\nCHRISTIAN HAAS\nSide Table H 30 \u002F W 110 \u002F D 39 \nLong Table H 23 \u002F W 170 \u002F D 39\nCofee Table H 37 \u002F W 160 \u002F D 70\nSEE PAGES 34, 86, 139\nAvailable in three sizes. Frame solid \nash, black lacquered. Marble tabletop, \nelaborately milled, high-gloss polished \nand impregnated. Tabletop support \ncolour-lacquered metal in black. Black \nfelt gliders.\nDIANA E SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 54 \u002F W 61 \u002F D 47\nSEE PAGE 95\nSheet steel, powder-coated with \nfine texture in various colours. \nSwivel top. Bottom covered with \npolyethylene.\nDIANA F SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 44 \u002F W 65 \u002F D 41\nSEE PAGE 95\nSheet steel, powder-coated with \nfine texture in various colours. \nSwivel top. Bottom covered with \npolyethylene.\nDIANA D COFFEE TABLE 2002\nKONSTANTIN GRCIC\nH 27 \u002F W 90 \u002F D 64\nSEE PAGE 94, 106 \nBase sheet steel, powder-coated \nwith fine texture in various colours. \nTabletop clear crystal glass. Bottom \ncovered with polyethylene.\nMATÉRIA TABLE SERIES 2021\nCHRISTIAN HAAS\nSide Table H 30 \u002F W 110 \u002F D 39, Long Table H 23 \u002F W 170 \u002F D 39,\nCofee Table H 37 \u002F W 160 \u002F D 70\nSEE PAGES 85, 87, 148, 150, 158, 185\nAvailable in three sizes. Frame solid ash, natural, with clear varnish. Travertine \ntabletop, elaborately milled, natural or with indigo-dyed indentations. Tabletop \nsupport colour-lacquered metal in light ivory. Black felt gliders.\nMENTON TABLE 1932\nEILEEN GRAY \nH 42\u002F65 \u002F TH 32\u002F65 \u002F W 128 \u002F D 65\u002F56\nSEE PAGE 75\nFrame chrome-plated tubular steel. Tabletop with linoleum \nsurface, black on one side and grey on the other, with solid \nbeech edging. Foldable for use in two diferent heights.\nRIVOLI TABLE 1928\nEILEEN GRAY\nH 101 \u002F TH 71 \u002F W 73\u002F139 \u002F D 36\u002F64\nSEE PAGES 65, 176\nFrame chrome-plated tubular steel \nand two swivel trays in chrome-\nplated steel. Tabletops MDF high-\ngloss lacquered in black, grey, white \nand Chinese red, partially foldable. \nPlastic gliders in black and one \nheight-adjustable metal glider.\nSAX SIDE TABLE 2017\nCHRISTOPH BÖNINGER\nH 58–73 \u002F W 60 \u002F D 60\nSEE PAGE 140\nVariably height-adjustable side \ntable on casters. Frame steel, \npowder-coated in black or chrome-\nplated. Tabletop crystal glass, black \nlacqueredor Fenix HPL in matte \nblack. Plastic casters in black. \nPLI SIDE TABLE LOW & HIGH \n2016 & 2017\nVICTORIA WILMOTTE\nLow H 48 \u002F W 56 \u002F D 42 \nHigh H 65 \u002F W 56 \u002F D 42\nSEE PAGES 57, 91, 162, 170, 202,\n204\nAvailable in two sizes. Base folded \nhigh-gloss polished stainless sheet \nsteel, in various colours, tinted \nwith a special method. Oval tabletop \ncrystal glass, underside colour-\nlacquered. Felt gliders in black.\nSOL SIDE TABLE 2021\nORTEGAGUIJARRO\nH 51 \u002F TH 41 \u002F W 50 \u002F D 46\nSEE PAGES 82, 84\nParsol glass in bronze or grey (LSG). \nOr crystal glass with coloured inlay \nin royal blue (LSG).\nOCCASIONAL TABLE 1927\nEILEEN GRAY\nRound H 57 \u002F TH 43 \u002F W 40 \u002F D 45\nRectangular H 57 \u002F TH 43 \u002F W 36 \u002F D 41\nSEE PAGES 24, 65, 72, 77, 166\nAvailable in two shapes. Base \nchrome-plated tubular steel. Tabletop \nround or rectangular MDF high-gloss \nlacquered in black, grey, white or \nChinese red. Plastic gliders in grey.\nPETITE COIFFEUSE 1926 \nEILEEN GRAY\nH 84 \u002F TH 76 \u002F W 47 \u002F D 66\nSEE PAGES 72, 80, 143\nChest of drawers and dressing table. \nFrame chrome-plated tubular steel. \nTabletop and suspended box with \ntwo swivel drawers and one door \nMDF high-gloss lacquered in black \nor white. Plastic gliders in black.\nVOLKSHAUS SIDE TABLE 2024\nHERZOG & DE MEURON\nH 48 \u002F D 50\nSEE PAGES 102, 107, 160, 199\nFrame and tabletop solid oak, \nnatural, with clear or black varnish. \nGrey felt gliders.\nP 217\n",219,{"image":847,"text":848,"number":849},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.220.png","Tables\nHome Desks\nAccessories\nShelves\nTables, Home Desks, Shelves, Accessories\nCYPRIS MIRROR 2015\nNINA MAIR\nH 70 \u002F W 70 \u002F D 10\nFrame solid brass, natural or bur-\nnished, with clear varnish. Mirror \nclear crystal glass or smoked glass, \nbronze. \nDOUBLE X TABLE 1928\nEILEEN GRAY \nH 72\u002F73 \u002F W 224\u002F225\u002F230 \u002F D 82\u002F110\u002F110\nSEE PAGES 96, 177\nFrame chrome-plated tubular steel. \nTabletop MDF real-wood veneered in \nash, black-stained, with clear var-\nnish. Or tabletop clear crystal glass. \nHeight-adjustable metal gliders.\nJEAN TABLE 1929\nEILEEN GRAY\nH 70\u002F72 \u002F W 65\u002F130 \u002F D 70\nSEE PAGES 108, 173\nFrame chrome-plated tubular steel. \nTabletop foldable, laminated with \nwhite HPL, solid beech edging. \nHeight-adjustable metal gliders.\nLOU PEROU TABLE 1926\nEILEEN GRAY \nH 70\u002F73 \u002F W 130\u002F195 \u002F D 65\nSEE PAGES 70, 152\nFrame chrome-plated tubular steel. \nPart of the tabletop can be folded \nup for extension. Tabletop MDF high-\ngloss lacquered in black or white. \nPlastic gliders in black.\nPALLAS TABLE 2003\nKONSTANTIN GRCIC\nH 72 \u002F W 240\u002F300 \u002F D 75\nSEE PAGES 32, 135, 174\nSheet steel 4 mm thick. Powder-\ncoated with fine texture in various \ncolours. Outdoor version:galvanised, \nweatherproof powder-coated with \nfine texture.\nPLI TABLE 2017\nVICTORIA WILMOTTE\nH 73\u002F74 \u002F W 180 \u002F D 140\nSEE PAGES 54, 57, 162\nBase folded high-gloss polished stain-\nless sheet steel, in various colours, \ntinted with a special method. Oval \ntabletop crystal glass, underside \ncolour-lacquered, or oval marble table-\ntop in various versions, polished and \nimpregnated. Height-adjustable felt \ngliders in grey.\nPEGASUS HOME DESK 2014\nIPPOLITO FLEITZ GROUP \u002F\nTILLA GOLDBERG\nH 75 \u002F W 121 \u002F D 51\nSEE PAGES 60, 183, 189\nFrame flat steel, black lacquered or \ncovered in bend leather in mocha \nbrown or khaki. Body with drawer \nand compartments, HPL\u002FMDF matte \nlacquered in mauve or night blue.\nFront and back clad burnished stain-\nless sheet steel or solid walnut, with \nclear varnish. Worktop reinforced \nbend leather, can be folded up on \nthe side. Cable duct. Height-adjust-\nable metal gliders.\nORCUS HOME DESK 1993\nKONSTANTIN GRCIC \nH 123\u002F125 \u002F TH 73 \u002F W 105 \u002F D 42\u002F92\nSEE PAGES 101, 134, 192, 202\nFrame chrome-plated tubular steel. \nLockable body MDF, real-wood ve-\nneered in walnut, with clear varnish, \nor high-gloss lacquered in white. \nFold-out worktop with black leather \ndesk pad. Four drawers including a \nsecret compartment. Cable duct. \nHeight-adjustable metal gliders.\nZELOS HOME DESK 2008\nCHRISTOPH BÖNINGER \nH 86 \u002F TH 75 \u002F W 68\u002F120 \u002F D 54\nFrame chrome-plated flat steel. \nBody MDF, real-wood veneered in \nwalnut, with clear varnish, or high-\ngloss lacquered in black. Fold-out \nworktop with black leather desk pad. \nSide compartments, drawer and \nadditional storage space with cable \nduct. Felt gliders in grey.\nPARIS SHELF 2005\nBARBER OSGERBY \nH 39\u002F75\u002F111 \u002F W 200 \u002F D 35 \nSEE PAGE 92\nBoards MDF real-wood veneered \nin walnut, with clear varnish or \nlacquered in jet black or grey white. \nVariable elements sheet steel, \npowder-coated with fine texture in \nvarious colours (available in version \nU and L, interchangeable). Base \nwith height-adjustable plastic gliders \nin black. \nTAIDGH SHELF B 2019\nTAIDGH O’NEILL\nH 49 \u002F W 59 \u002F D 33\nShelves, connection parts and \nlaths natural solid oak, oiled with \nsilk matte surface.\nTAIDGH SHELF C 2019\nTAIDGH O’NEILL\nH 70 \u002F W 81 \u002F D 29\nShelves, connection parts and laths \nsolid walnut, natural, oiled with silk \nmatte surface. Angle steel, copper-\nplated, unvarnished.\nTAIDGH SHELF D 2019\nTAIDGH O’NEILL\nH 77 \u002F W 165 \u002F D 31\nShelf, connection parts and laths \nsolid oak or walnut, natural, oiled \nwith silk matte surface.\nCASTELLAR MIRROR 1927\nEILEEN GRAY\nH 64 \u002F W 58 \u002F D MAX.38\nSEE PAGES 106, 160\nMirror with a swivel-mounted sec-\ntion. Frame chrome-plated steel. \nMirror polished crystal glass with \nfaceted edges.\nCYPRIS MIRROR 2015\nNINA MAIR\nDM 75 \u002F D 10\nSEE PAGE 88\nFrame solid brass, natural or bur-\nnished, with clear varnish. Mirror \nclear crystal glass or smoked glass, \nbronze.\n",220,{"image":851,"text":852,"number":853},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.221.png","Accessories, Limited Edition\nLimited Edition\nCYPRIS MIRROR 2015\nNINA MAIR\nH 180\u002F60 \u002F W 60\u002F180 \u002F D 10\nSEE PAGES 23, 29, 40, 90, 168, 183\nFrame solid brass, natural or bur-\nnished, with clear varnish. Mirror \nclear crystal glass or smoked glass, \nbronze. Version 60 x 180 cm for hori-\nzontal or vertical use. Tilt protection \nincluded for use as a leaning mirror.\nPIEGA MIRROR OBJECT \nSMALL, MEDIUM, LARGE 2018\nVICTORIA WILMOTTE \nSmall H 48 \u002F W 80 \u002F D 10\nMedium H 62 \u002F W 100 \u002F D 12\nLarge H 75 \u002F W 145 \u002F D 15\nSEE PAGES 107, 163, 172, 206, 207\nDecorative design object available \nin three sizes; high-gloss polished \nstainless steel. For horizontal or \nvertical use.\nFOLDING SCREEN 1930\nEILEEN GRAY\nH 167 \u002F W 10–143\nSEE PAGES 50, 64\nFour-piece foldable screen. Solid \nwooden frame with two diferent \nperforated metal panel fillings. High-\ngloss lacquered in black, white and \nChinese red.\nMANDU VALET STAND 1932\nECKART MUTHESIUS \nH 109 \u002F W 41 \u002F D 38\nSEE PAGES 110, 193\nTubular steel, powder-coated in \nblack, bronze or chrome-plated. \nSilicone anti-slide strip for trousers. \nPlastic gliders in black.\nNOTOS STANDING DESK 1997\nTHOMAS KÜHL + ANDREAS KROB \nH 140 \u002F W 78 \u002F D 68\nSEE PAGES 106, 188\nVariably height-adjustable. Five angles \nof tilt. Foldable. Frame tubular steel, \npowder-coated with fine texture in jet \nblack or white aluminium. Tabletop \nplywood, real-wood veneered in black-\nstained ash or in maple, with clear var-\nnish. Plastic gliders in black.\nNYMPHENBURG COAT STAND 1908 \nOTTO BLÜMEL \nH 180 \u002F W 49 \u002F D 44\nSEE PAGES 46, 81, 110, 155, 212\nBrass, powder-coated in black or \nnickel-plated.\nSATURN COAT STAND 2007\nBARBER OSGERBY \nH 165 \u002F W 59 \u002F D 53 \nSEE PAGES 42, 47, 96, 191\nSolid beech, black-stained or solid \noak, natural, with clear varnish. Black \nmetal hooks. Plastic gliders in black.\nUSHA UMBRELLA STAND 1932\nECKART MUTHESIUS \nH 50 \u002F DM 28 \nSEE PAGES 47, 155\nFlat steel, powder-coated in black, \nbronze or chrome-plated. Base \nwood, satin lacquered in black. \nDrip pan sheet steel black or grey \nlacquered.\nTADAIMA CONSOLE 2017\nA+A COOREN \nH 88 \u002F W 73 \u002F D 21 \nSEE PAGES 47, 143\nWall console. Solid oak, natural, \nbrown or black-stained, with clear \nvarnish. Anti-slip black plastic gli-\nders on the bottom.\nSOL SIDE TABLE MINIATURE 2021\nORTEGAGUIJARRO\nH 10,2 \u002F W 10 \u002F D 9,4 \nMiniature 1:5 scale. Parsol glass in \nbronze or grey.\nSHIA VASE 2020 \nCLASSICON\nH 30 \u002F DM 20 \nSEE PAGES 150, 163\nHand-blown glass in various colours.\nVASE 2014 \nCLASSICON\nH 20 \u002F DM 22\nSEE PAGES 92, 163\nHand-blown glass in various colours.\nBOWL 2014 \nCLASSICON\nH 10 \u002F DM 32\nSEE PAGES 93, 162, 163\nHand-blown glass in various colours.\nBRICK SCREEN 1922–1925\nEILEEN GRAY\nH 187 \u002F W 115 \u002F D 24\nSEE PAGES 25, 26, 31\nFolding screen. Framework stainless steel. Shims, spacers \nand end caps polished solid brass, with clear varnish. Panels \nhigh-gloss lacquered in black. Handcrafted in Germany. \nP 219\n",221,{"image":855,"text":856,"number":857},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.222.png","Lamps\nLamps\nLANTERN LIGHT TABLE LAMP 2017 \nNERI&HU\nH 54 \u002F W 21 \u002F D 17\nSEE PAGES 97, 183, 206\nFrame solid brass, natural or bur-\nnished, with clear varnish. Lamp \nshade hand-blown grey crystal \nglass. Difusor opal glass white \nsatin-finished. Push-button switch, \ndimmable. Plug-in power supply \nwith interchangeable plugs for \nEurope, UK, Australia and USA. \nFelt gliders in black. \nPAILLA WALL LAMP 1927\nEILEEN GRAY\nD 12 \u002F DM 8.5 \nSEE PAGES 106, 142\nSteel, chrome-plated or black \nlacquered. Two-piece cylinder \nwith thread. \nLANTERN LIGHT FLOOR LAMP\nMEDIUM 2017 \nNERI&HU\nH 135 \u002F DM 23\nSEE PAGES 34, 159\nFrame solid brass, natural or bur-\nnished, with clear varnish. Lamp \nshade hand-blown grey crystal \nglass. Difusor opal glass white \nsatin-finished. Foot switch, \ndimmable. Plug-in power supply \nwith interchangeable plugs for \nEurope, UK, Australia and USA. \nFelt gliders in black. \nLANTERN LIGHT FLOOR LAMP\nTALL 2017 \nNERI&HU\nH 170 \u002F DM 28\nSEE PAGE 34\nFrame solid brass, natural or bur-\nnished, with clear varnish. Lamp \nshade hand-blown grey crystal \nglass. Difusor opal glass white \nsatin-finished. Foot switch, \ndimmable. Plug-in power supply \nwith interchangeable plugs for \nEurope, UK, Australia and USA. \nFelt gliders in black. \nROATTINO FLOOR LAMP 1931\nEILEEN GRAY \nH 151 \u002F W 68 \u002F D 25\nSEE PAGES 62, 69, 143, 154, 200,\n201, 207, 213\nS-shaped tubular brass and steel \nbase, lacquered in black or cream \nwhite. Horizontally swivable lamp \nhead. Lamp shade fabric in white, \nplasticized inside (fire retardant \nacc. to B1 standard). Foot switch, \ndimmable. Felt gliders in grey.\nORBIS FLOOR LAMP 1994\nHERBERT H. SCHULTES\nH 108–158 \u002F DM 26\nSEE PAGES 74, 188, 192\nLamp stand and reflector metal, \ntexture-lacquered in matte black \nor chrome-plated. Rods and joints \nchrome-plated metal. Fully adjust-\nable wireless joints allow for a great \nnumber of lighting positions, reflec-\ntor adjusts up\u002Fdown and rotates \nsideways. Foot switch, dimmable. \nPlastic gliders transparent.\nORBIS DESK LAMP 1994\nHERBERT H. SCHULTES\nH 56–103 \u002F DM 26\nSEE PAGES 70, 212\nLamp stand and reflector metal, \ntexture-lacquered in matte black \nor chrome-plated. Rods and joints \nchrome-plated metal. Fully adjust-\nable wireless joints allow for a great \nnumber of lighting positions, reflec-\ntor adjusts up\u002Fdown and rotates \nsideways. Flip switch. Plastic \ngliders transparent.\nTUBE LIGHT FLOOR LAMP 1927\nEILEEN GRAY\nH 104 \u002F DM 25 \nSEE PAGES 21, 73, 153, 156, 182\nTubular steel, chrome-plated or black \nlacquered with black plastic lamp \nsockets for mounting light source. \nMetal floor plate, chrome-plated or \nblack lacquered, with push-button \nswitch, dimmable. Felt gliders in \ngrey or black.\nSELENE PENDANT LAMP 2006\nSANDRA LINDNER \nDM 20, 25, 30, 35, 45 \u002F CL 400 \nSEE PAGES 58, 71, 88, 140, 150, 203, 206, 207\nAvailable in five sizes. Hand-blown clear crystal glass sphere. Centrally \nsuspended by a five-armed light head. Insect protection cover and light head \nin metal, black lacquered or brass-plated or copper-plated, with clear varnish. \nBlack cable, fabric covered. Cable length 4 m, special lengths upon request.\nBELL LIGHT PENDANT LAMP 2013\nSEBASTIAN HERKNER\nSize 1 H 40 \u002F DM 45, size 2 H 53 \u002F DM 32, size 3 H 34 \u002F DM 29, \nsize 4 H 41 \u002F DM 35, CL 400 \nSEE PAGES 160, 181, 183, 189\nCustomised combinations are possible with the various modules: light head \nanthracite grey powder-coated metal, or solid brass or copper, with clear \nvarnish. Lamp shade fabric in white or green, plasticized white inside (hardly \ninflammable according to B1), or hand-blown lamp shade white satin-finished \nopal glass or grey crystal glass. Black cable. Cable length 4 m, special lengths \nupon request.\nPLISSÉE FLOOR LAMP 2020\nSEBASTIAN HERKNER\nH 92 \u002F DM 40\nSEE PAGES 52, 54, 149, 151, 160\nFrame aluminium, colour-lacquered in \nblack, bronze or brass. Hand-blown \nlamp shade white satin-finished opal \nglass with pleated surface. Push \nswitch integrated in top of frame, \nvariably dimmable with memory \nfunction. Black felt gliders.\nFORMA TABLE LAMP 2023\nCHRISTIAN HAAS\nH 34 \u002F DM 38\nSEE PAGES 28, 34, 98, 139, 158, 185\nBase and lamp shade solid ash, \nnatural with clear varnish or black \nlacquered, or solid walnut, natural, \nwith clear varnish. Acrylic glass \ndifuser panel, satin-finished on one \nside. Push switch integrated in base, \nvariably dimmable with memory \nfunction. Black felt gliders. Cable \nlength 2 m. \nPLISSÉE PENDANT LAMP 2023\nSEBASTIAN HERKNER\nH 51 \u002F DM 40 \nSEE PAGES 52, 63, 190, 224\nHand-blown lamp shade white \nsatin-finished opal glass with pleated \nsurface. Closing ring and socket \nsteel and aluminium colour-\nlaquered in black, bronze or brass.\nSuspension from three steel wires, \nadjustable in height and alignment. \nCable length 4 m, special lengths \nupon request. \n",222,{"image":859,"text":860,"number":861},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.223.png","Rugs\nRugs\nBLUE MARINE RUG 1920–1935\nEILEEN GRAY \nL 110 \u002F W 215\nL 179 \u002F W 350\nSEE PAGES 77, 222\nRug made of 100% hand-spun New \nZealand virgin wool. Handwoven with \n80 knots per square inch (6.45 cm²). \nEnvironmentally friendly colour \npigments, tested according to OEKO-\nTEX® STANDARD 100. Low-mainte-\nnance, suitable for vacuum cleaners.\nBONAPARTE RUG 1920–1935\nEILEEN GRAY \nL 100 \u002F W 210 \nL 167 \u002F W 350\nSEE PAGES 81, 222\nRug made of 100% hand-spun New \nZealand virgin wool. Handwoven with \n80 knots per square inch (6.45 cm²). \nEnvironmentally friendly colour \npigments, tested according to OEKO-\nTEX® STANDARD 100. Low-mainte-\nnance, suitable for vacuum cleaners.\nCASTELLAR RUG 1920–1935\nEILEEN GRAY \nL 175 \u002F W 175 \nL 300 \u002F W 250\nSEE PAGES 129, 222\nRug made of 100% hand-spun New \nZealand virgin wool. Handwoven with \n80 knots per square inch (6.45 cm²). \nEnvironmentally friendly colour \npigments, tested according to OEKO-\nTEX® STANDARD 100. Low-mainte-\nnance, suitable for vacuum cleaners.\nKILKENNY RUG 1920–1935\nEILEEN GRAY \nL 235 \u002F W 201\nL 300 \u002F W 250\nSEE PAGES 126, 150, 222\nRug made of 100% hand-spun New \nZealand virgin wool. Handwoven with \n80 knots per square inch (6.45 cm²). \nEnvironmentally friendly colour \npigments, tested according to OEKO-\nTEX® STANDARD 100. Low-mainte-\nnance, suitable for vacuum cleaners.\nCENTIMETRE RUG 1920–1935\nEILEEN GRAY \nL 200 \u002F W 300 \nL 250 \u002F W 375\nSEE PAGES 112, 122, 222\nRug made of 100% hand-spun New \nZealand virgin wool. Handwoven with \n80 knots per square inch (6.45 cm²). \nEnvironmentally friendly colour \npigments, tested according to OEKO-\nTEX® STANDARD 100. Low-mainte-\nnance, suitable for vacuum cleaners.\nCASSIS RUG 1920–1935\nEILEEN GRAY \nL 240 \u002F W 200\nL 300 \u002F W 250 \nSEE PAGES 60, 63, 138, 222\nRug made of 100% hand-spun New \nZealand virgin wool. Handwoven with \n80 knots per square inch (6.45 cm²). \nEnvironmentally friendly colour \npigments, tested according to OEKO-\nTEX® STANDARD 100. Low-mainte-\nnance, suitable for vacuum cleaners.\nDE STIJL RUG 1920–1935\nEILEEN GRAY\nL 220 \u002F W 300\nL 250 \u002F W 345\nSEE PAGES 72, 73, 74, 157, 222\nRug made of 100% hand-spun New \nZealand virgin wool. Handwoven with \n80 knots per square inch (6.45 cm²). \nEnvironmentally friendly colour \npigments, tested according to OEKO-\nTEX® STANDARD 100. Low-mainte-\nnance, suitable for vacuum cleaners.\nFAUBOURG RUG 1920–1935\nEILEEN GRAY\nL 200 \u002F W 200\nL 300 \u002F W 300\nSEE PAGES 17, 222\nRug made of 100% hand-spun New \nZealand virgin wool. Handwoven with \n80 knots per square inch (6.45 cm²). \nEnvironmentally friendly colour \npigments, tested according to OEKO-\nTEX® STANDARD 100. Low-mainte-\nnance, suitable for vacuum cleaners.\nMONOLITH RUG 1920–1935\nEILEEN GRAY\nL 200 \u002F W 300\nL 250 \u002F W 375\nSEE PAGES 29, 73, 98, 117, 158,\n185, 222\nRug made of 100% hand-spun New \nZealand virgin wool. Handwoven with \n80 knots per square inch (6.45 cm²). \nEnvironmentally friendly colour \npigments, tested according to OEKO-\nTEX® STANDARD 100. Low-mainte-\nnance, suitable for vacuum cleaners.\nST. TROPEZ RUG 1920–1935\nEILEEN GRAY \nL 204 \u002F W 204 \nL 300 \u002F W 250\nSEE PAGES 107, 154, 222\nRug made of 100% hand-spun New \nZealand virgin wool. Handwoven with \n80 knots per square inch (6.45 cm²). \nEnvironmentally friendly colour \npigments, tested according to OEKO-\nTEX® STANDARD 100. Low-mainte-\nnance, suitable for vacuum cleaners.\nWENDINGEN RUG 1920–1935\nEILEEN GRAY \nL 208 \u002F W 200 \nL 300 \u002F W 250\nSEE PAGE 121, 137, 139, 171, 222\nRug made of 100% hand-spun New \nZealand virgin wool. Handwoven with \n80 knots per square inch (6.45 cm²). \nEnvironmentally friendly colour \npigments, tested according to OEKO-\nTEX® STANDARD 100. Low-mainte-\nnance, suitable for vacuum cleaners.\nROQUEBRUNE RUG 1920–1935\nEILEEN GRAY \nL 200 \u002F W 200 \nL 300 \u002F W 300\nSEE PAGES 144, 161, 162, 222\nRug made of 100% hand-spun New \nZealand virgin wool. Handwoven with \n80 knots per square inch (6.45 cm²). \nEnvironmentally friendly colour \npigments, tested according to OEKO-\nTEX® STANDARD 100. Low-mainte-\nnance, suitable for vacuum cleaners.\nLA LUNE RUG 1920–1935\nEILEEN GRAY\nL 200 \u002F W 175\nL 300 \u002F W 250\nSEE PAGES 68, 69, 165, 222\nRug made of 78% hand-spun New \nZealand virgin wool, 16% nettle \nand 6% pure silk. Hand-woven with \n80 knots per square inch (6.45 cm²). \nEnvironmentally friendly colour \npigments, tested according to \nOEKO-TEX® STANDARD 100. \nLow-maintenance, suitable for \nvacuum cleaners.\nP 221\n",223,{"image":863,"text":864,"number":865},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.224.png","All products featured here are only suitable for indoor use\n(except for: Pallas Table by Konstantin Grcic).\nP 222\n",224,{"image":867,"text":868,"number":869},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.225.png","Experience the beauty of \nthe forms and materials of our \ncollection up close in a video\n",225,{"image":871,"text":15,"number":872},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.226.png",226,{"image":874,"text":875,"number":876},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.227.png","ClassiCon GmbH \nSigmund-Riefler-Bogen 3 \n81829 Munich \nGermany\nTel + 49 89 748133 0 \ninfo@classicon.com \nwww.classicon.com\nShowroom  \nMon– Thu 8:30 –17:00 \nFri 8:30 –15:00 \nPlease make an appointment\nIMPRINT\nCreative direction (concept, design and visuals): Thomas Biswanger \nGraphic design, photo shootings, project management ClassiCon: Verena Nobbe\nCollection photos: Elias Hassos, drone: Marcus Hassler\nHome photos: Elias Hassos, as well as Marcus Hassler, Gerhardt Kellermann, Daniel Breidt,  \nChristian Kain, François Halard, Florian Holzherr, Felix Holzer, Thomas Popinger, Thomas \nBiswanger, Narendra Shrestha, Jens Schnabel (p. 171), Evan Dion (p. 178) \nDesigner photos: Cooren: Joseph Melin, Herkner: Lutz Sternstein, Wilmotte: Roger Weber, \nBarber Osgerby: Alisa Connan, Goldberg: Monica Menez, Weisshaar: Matthias Ziegler, Grcic; \nJulian Baumann, Torres: Ale Ruaro, Haas: Markus Jans, Sauerbruch Hutton: Markus Lanz \u002F \nArchitekturgalerie München, Neri&Hu: Jiaxi Yang & Zhu Zhe\nProduct photos: Felix Holzer\nReferences: Bocci apartment: photo Cortili Photo Milan (p. 168) · Private apartment: architects \nMarcante-Testa, photos Carola Ripamonti (pp. 130–135) · Volkshaus Basel Hotel: architects Herzog &  \nde Meuron, photos Robert Rieger · German ambassador’s residence OECD: interior design \nUlrike Wattenbach, photos Jérôme Epaillard · Regina Experimental Biarritz Hotel: interior design \nDorothée Meilichzon, photos Patrick Locqueneux · Hilton Brisbane: photo Sharrin Rees · Junshan \nCultural Center: architects Neri&Hu, photos Xia Zhi · Gaggenau Appliances: photo Gaggenau \nHausgeräte GmbH · Sheraton Grand Tbilisi Metechi Palace: interior design wrightassociates, \nMunich · Four Seasons Hotel New York: interior design Yabu Pushelberg, photo Gabrielle Pilotti \nLangdon\u002FArchitectural Digest (C) Condé Nast · Audemars Piguet: photo David von Becker · The \nRitz-Carlton Hotel: interior design BAR Studio, photos Peter Bennet · Hotel de Tourrel: photos \nBruno Suet · Nordstrom Flagship Store: photo Connie Zhou · JW Marriott Resort & Spa: architects \nMatteo Thun & Partners · Le Labo: Etic for Lexus Design Pavilion 2017 by Émilie Delalande · New \nYork Bar: copyright Estrel Berlin \u002F Andreas Gehrke · Hermitage Hotel: architects Herzog & de \nMeuron, photos Paolo Abate, Herzog & de Meuron, Hermitage Hotel · Beirut Terraces: architects \nHerzog & de Meuron, photos Iwan Baan · Porsche Studio Cheongdam: interior design Designliga, \nphotos SSCL, SOHOME · Hotel Maistra 160: photo Ralph Feiner · KaDeWe: photo The KaDeWe \nGroup · Lane Crawford: interior design Yabu Pushelberg, photo Nacasa & Partners Inc. · SLS \nLux Brickell Hotel: interior design Yabu Pushelberg, photo Kris Tamburello · Creutz & Partners \nGlobal Asset Management S.A.: photo Serge Brison · Mandarin Oriental Hotel: photo Mandarin \nOriental Lago di Como · Schreiberei Restaurant: interior design Studio Hildmannwilke, photo \nHoang Dang · Tokyo Garden Terrace Kioicho: architects Nikken Sekkai Ltd and Kohn Pedersen \nFox Associates PC\nInterview Oliver Holy \nText: Gabriele Thiels\nEileen Gray Non Conformist Artist \nPhotos: Eileen Gray, © National Museum of Ireland, Dublin \nArtwork: Eileen Gray  \nText: Charlotte Kerner, author, Lübeck\nTexts: Gabriele Thiels, Harald Willenbrock, Neumann Communication, ClassiCon \nTranslations: Susanne Dickel, SATS Translation Services \u002F Katja Steiner \nEditing: ed_it! Text und Redaktion \u002F Heike Tekampe\nLithography: Wolfgang Perez, Matthias Grießel, MXM Digital Service \nCover: Gmund paper \nPrint: Druckerei Vogl GmbH & Co KG \n© ClassiCon GmbH, Munich\nSubject to technical modifications. Actual colours may vary. Errors can not be excluded.\nCOPYRIGHT \u002F LICENCING RIGHTS\nClassiCon® 2024  \nAll rights reserved. None of the products or content included in this  \ncatalogue may be reproduced or copied without prior written consent.\nAll Eileen Gray designs: \nAuthorised by The World Licence Holder Aram Designs Ltd, London\nABBREVIATIONS \u002F DIMENSIONS\nH: height, W: width, D: depth, L: length, DM: diameter, SH: seat height,  \nTH: table height, CL: cable length. All dimensions in cm.\n",227,{"image":878,"text":15,"number":879},"\u002Fmedia\u002Fimages\u002Fc3\u002F7a571f00cf2e90a365ad8e6c92f848-2871b44045.228.png",228,[],0,false,true,{"success":883,"data":885,"meta":1091,"count":1092,"next":1093,"previous":1094,"results":1126,"brand_chips":1187},[886,898,910,923,932,945,957,966,975,984,993,1005,1014,1023,1032,1041,1054,1063,1073,1083],{"id":887,"title":888,"slug":889,"image":890,"source":891,"brand_name":892,"brand":893,"brand_slug":894,"file_size":895,"pages":896,"pages_count":394,"matched_pages":897,"match_count":881,"two_pages":882,"show_text":883},26599,"News 2026","porada-news-2026","\u002Fmedia\u002Fimages\u002Fce\u002Fd99f531b06a46fd5bee10f83389e8c-296fcd1b7e.1.png","\u002Fprivate\u002Ffiles\u002Fc2\u002F62a24ea3de0c50ca2a88817e98c8e9-296fcd1b61.pdf","Porada",394,"porada","9.3 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