[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-classicon-corker-materia-sol-roattino-tubelight-pailla-bowno6":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":156},{"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":151,"matched_pages":152,"match_count":153,"two_pages":154,"show_text":155},16554,"Corker Materia Sol Roattino TubeLight Pailla BowNo6","classicon-corker-materia-sol-roattino-tubelight-pailla-bowno6","\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F6b\u002F7e629c1eed2be69de3849c56055633-2871b10c78.pdf","ClassiCon",2172,"classicon","4.3 MB",[14,17,21,25,29,33,37,41,45,48,52,56,60,64,68,72,76,79,83,87,91,94,97,101,105,109,113,117,121,125,129,133,137,141,145,148],{"image":7,"text":15,"number":16},"Corker, Matéria, Sol, Bow No. 6 \nTube Light, Roattino & Pailla\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.2.png","TITEL FRONTPAGE Corker No. 3 \nDIESE SEITE THIS PAGE Corker No. 1, No. 3, No. 2\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.3.png","",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.4.png","OBEN TOP Corker No. 1, Odin Sofa \nRECHTS RIGHT Corker No. 1\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.5.png","Corker\nHerzog & de Meuron, 2022\nWarm, erdend, gleichzeitig stabil und flexibel \neinsetzbar: Der Corker ist eines dieser Univer- \nsaltalente, die in jedem Wohnbereich eine \ngute Figur machen – egal ob als zusätzliche \nSitzgelegenheit oder Beistelltisch. Dabei spielt \nder in drei Größen erhältliche Kork-Hocker \nnicht nur in seiner Namens-, sondern auch \nFormgebung mit der eigenen Beschaffenheit: \nInspiriert von der ikonischen Silhouette eines \nChampagnerkorkens, könnte man dieses \nbesondere Objekt auch als Pop-Art betrachten. \nSeinen Ursprung hat der Corker im Londoner \nSerpentine Gallery Pavillon von 2012. Die \nGestaltung des temporären Sommerpavillons \nerfolgte in dem Jahr als Gemeinschaftsprojekt \ndes Architekturbüros Herzog & de Meuron \nsowie des chinesischen Künstlers, Designers \nund Architekten Ai Weiwei. Der Hocker war \nTeil des Gesamtkonzepts. Mit Aufnahme in  \ndie ClassiCon-Kollektion wurden die beiden \nursprünglichen Corker-Versionen von Herzog  \n& de Meuron um eine Dritte ergänzt.\nWarm, grounding, stable and flexible in the \nways it can be used: Whether as a stylish \nyet functional side table or extra seat, Corker \nis one of those versatile pieces that simply \nlook good in any environment. Available in \nthree different sizes, the cork stool unveils \nits nature not only in its name but also in its \nshape: Inspired by the iconic silhouette of a \nchampagne cork, this unique piece could as \nwell be seen as a pop art object. Corker \noriginated at the London Serpentine Gallery \nPavilion 2012. The design of the temporary \nsummer pavilion was a joint project by the \narchitectural office Herzog & de Meuron and \nChinese artist, designer and architect Ai \nWeiwei. The Corker design object was part \nof the overall concept. With the addition  \nto the ClassiCon collection, the two original \nCorker versions from Herzog & de Meuron \nwere complemented with a third size.\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.6.png","So zeitlos der Corker in Funktion und \nGestaltung ist, so zukunftsweisend ist er in \nseiner Materialbeschaffenheit: Der in Portugal \nzur Produktion verwendete Kork stammt aus \nlokaler, nachhaltiger Forstwirtschaft. In dem \ntraditionsreichen Familienbetrieb werden alle \nKomponenten der Produktionskette so verar- \nbeitet, dass keine Abfälle entstehen: Zur \nGewinnung des Korks, der geschützt unter der \näußersten Rinde verborgen liegt, wird die \nKorkeiche alle neun Jahre sorgsam geschält. \nDie bei der Auslese des wertvollen Korks \nentstehenden Holzreste dienen als Brennstoff \nfür die Dampfmaschinen, in denen der Kork zu \neinem festen Kubus geformt wird. Durch die \nhohe Temperatur erhält er auch seine natürlich \ndunkle Färbung. Anschließend wird dieser in \ndie charakteristische Korken-Form gefräst.  \nDie Corker-Serie steht für nachhaltiges Design \nund ist zu einhundert Prozent recyclebar.\nThe function and design of Corker  \nare timeless, and its material quality is  \nforward-looking: The cork used for the \nproduction of Corker in Portugal comes \nfrom local, sustainable forestry. In the \ntraditional family business, all components  \nin the production chain are processed in  \na way that entirely avoids waste: To harvest \nthe cork, which is protected by the outer \nbark, the cork oak bark is carefully stripped \nfrom the trunk every nine years. The wood \nscraps resulting from the careful selection \nof the valuable cork serve as fuel for the \nsteam machines in which the cork is formed \ninto a solid cube. Due to the high tempera- \nture, the cork also retains its natural dark \ncolour. It is then milled into the characteristic \nCorker form. The Corker Series implements \nsustainable design and is one hundred \npercent recyclable. \n„Kork ist formbar, kann recycelt \nwerden und hat wunderbare taktile \nEigenschaften.“\n“Cork is formable, recyclable and \nhas wonderful tactile properties.” \nJacques Herzog\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.7.png","Kilkenny Rug, Corker No. 2, No. 3, No. 1\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.8.png","Shia Vase, Matéria Side Table, Matéria Long Table, Roattino Floor Lamp White Version\n",8,{"image":46,"text":23,"number":47},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.9.png",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.10.png","OBEN TOP Euvira Lounge Chair, Matéria Side Table, Matéria Long Table \nRECHTS RIGHT Matéria Side Table\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.11.png","Matéria Low Board Series\nChristian Haas, 2021\nVon der japanischen Kultur inspiriert zeichnet \nsich die Lowboard-Serie Matéria durch ihre \nbesonderen Dimensionen und ruhevolle Aura \naus. Die nahezu monochrome Optik offenbart \nsich bei näherem Hinsehen als Zusammenspiel \nvon offenporigem Travertinstein und edlem \nAhornholz. Die organische Form ruft das intui- \ntive Bedürfnis hervor, über die Oberflächen  \nzu streichen und deren natürliche Haptik zu \nertasten. Der ursprünglich rein experimentelle \nEntwurf des deutschen Designers Christian \nHaas wurde in Zusammenarbeit mit ClassiCon \nzu einem Trio erweitert. Drei unterschiedliche \nGrößen sowie die Oberfläche wahlweise aus \nTravertin natur oder mit indigofarbener Marmo- \nrierung, lassen Matéria an vielen Orten glänzen: \nlang, schmal und angenehm tief vor einer \ngroßen Fensterfront oder auch überschneidend \ngruppiert als Präsentationsfläche. Ein besonde- \nres Designobjekt für daheim, im Schaufenster \noder öffentlichen Räumen.\nInspired by Japanese culture, the Matéria \nLow Board Series is characterised by its \nunusual dimensions and aura of tranquillity. \nWhen taking a closer look, however,  \nits nearly monochromatic appearance is \nrevealed as an interplay of the open-pore \ntravertine stone and fine maple wood.  \nThe organic form evokes an intuitive urge \nto touch the surfaces and feel their natural \ntextures. Originally a purely experimental \ndesign by German designer Christian Haas, \nit was expanded into a trio in cooperation \nwith ClassiCon. Three different sizes and \nsurfaces either in natural travertine or with \nindigo-coloured marbling enable Matéria  \nto take centre stage in many places: long, \nnarrow and comfortably low in front of  \na large window or grouped together as  \na presentation surface. A special design \nobject for homes, shop windows or  \npublic spaces.\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.12.png","Mit Matéria setzt Designer Christian Haas \nbewusst auf das Experimentelle: Offenporiger \nTravertin, der in der Architektur meist monu- \nmental Verwendung findet, wird bei ihm zur \nschmalen, organisch geformten Tischplatte. \nUm die geringe Dicke, die asymmetrische \nKontur und die konkave Oberfläche zu erzeu- \ngen, die die Matéria Serie auszeichnen, wird \nder Stein in sorgsamer Handarbeit in seine \ncharakteristische Form geschliffen. Auf der \nSuche nach Varianten zum sandfarbenen \nTravertin fand Christian Haas zu einem neuen, \nganz eigenen Design: Eine wasserbasierte, \nbiologisch abbaubare Farbe wird auf den Stein \naufgetragen und dann oberflächlich wieder \nabgeschliffen. Das in den Vertiefungen zurück- \nbleibende Indigo hebt die poröse Oberflächen- \nstruktur des Steins hervor. Jeder Tisch wird  \nso zu einem abstrakten Gemälde – von der \nNatur gestaltet.\n„Minimalistisches Design in Kombination  \nmit der Sinnlichkeit natürlicher Materialien  \nist die Grundlage meiner Entwürfe.“\n“Minimalist design combined with the sensuality of \nnatural materials forms the foundation of my designs.” \nChristian Haas\nWith Matéria, designer Christian Haas  \nintentionally counts on the experimental:  \nHe turns open-pore travertine, which \ntraditionally is often employed in monumen-\ntal architecture, into a narrow, organically \nformed tabletop. In order to create the low \nthickness, asymmetrical contours and con-\ncave surface that characterise the Matéria \nSeries, the stone is carefully hand-ground \ninto its form. In search for variations of the \nsand-coloured travertine, Christian Haas \nfound a new, entirely unique design: water-\nbased, biodegradable paint is applied onto \nthe stone and then superficially ground off. \nThe indigo remaining in the indentations \nemphasizes the porous surface structure \nof the travertine, turning each table into an \nabstract painting – designed by nature. \n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.13.png","Matéria Long Table\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.14.png","Sol Side Table\nOrtegaGuijarro, 2021\nMit dem Sol Side Table hat das spanische \nDesigner-Duo Ortega-Guijarro einen Entwurf \nvon beeindruckendem Facettenreichtum \ngeschaffen. Denn so bestechend simpel die \nKonstruktion aus unterschiedlich großen \nGlasflächen auf den ersten Blick scheinen \nmag, so vielschichtig ist sie beim zweiten \nHinsehen. Je nach Blickwinkel, Lichteinfall \nund Schattenspiel fügen sich die farbig-trans-\nparenten Elemente des Tisches zu immer \nneuen Silhouetten zusammen und schlagen \nihrem Betrachter auf diese Weise ein \noptisches Schnippchen. Elegante Skulptur \noder funktionaler Beistelltisch? Sol ist nicht \nEntweder-oder, sondern beides auf einmal.\nWith the Sol Side Table, the Spanish \ndesigner duo Ortega-Guijarro have created a \ndesign with an impressive wealth of facets. \nAs strikingly simple as the construction made \nof glass panels of different sizes may be, at \nsecond glance it is quite complex. Depending \non the perspective, the incidence of light and \nshadows, the coloured-transparent elements \nof the table merge into ever-changing  \nsilhouettes and visually trick their observers. \nElegant sculpture or functional side table?  \nSol is not either\u002For but both at the same time.\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.15.png","LINKS LEFT Sol Side Table\nOBEN TOP Sedan Lounge Chair, Sol Side Table\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.16.png","Sol Side Table\n",16,{"image":77,"text":23,"number":78},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.17.png",17,{"image":80,"text":81,"number":82},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.18.png","OBEN TOP Bow Coffee Table No. 3 Nero Marquina, Bow Coffee Table No. 6, No. 4, No. 2 Emperador Dark \nRECHTS OBEN TOP RIGHT Euvira Rocking Chair, Bow Coffee Table No. 3 Nero Marquina, Bow Coffee Table No. 6, Tube Light Floor Lamp \nRECHTS UNTEN BOTTOM RIGHT Bow Coffee Table No. 2 Emperador Dark, No. 6\n",18,{"image":84,"text":85,"number":86},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.19.png","Bow Coffee Table\nGuilherme Torres, 2018\nDer rechteckige Bow Coffee Table No. 6 ist \nseit 2022 Teil der erfolgreichen Beistell- und \nCouchtischserie des Brasilianers Guilherme \nTorres. Mit seiner komfortablen Höhe ist er \neine stimmige Ergänzung zu den quadratischen \nModellen. \nInspiriert von der Linienführung der 70er Jahre \nist die Bow-Serie von lässiger Eleganz und \nlässt sich flexibel und individuell an jedes \nInterior anpassen. Allein oder als Ensemble mit \nverschiedenen Höhen und Tischplattengrößen \nsowie Materialien wie Messing, Glas oder \nMarmor, ergeben sich zahlreiche Gestaltungs-\nmöglichkeiten. Überlappend gruppiert bieten \ndie Tische eine großzügige und beliebig \nerweiterbare Ablagefläche. Ganz aus massivem \nMarmor gefertigt fasziniert Bow No. 3 durch \ndie individuelle Marmorierung, die jeden Tisch \nzu einem Unikat werden lässt. \nThe rectangular Bow Coffee Table No. 6 has \nbeen part of the successful side and coffee \ntable series by the Brazilian Guilherme Torres \nsince 2022. With its comfortable height, it is  \na harmonious addition to the square models. \nInspired by 1970s lines and designs, the Bow \nSeries is characterised by casual elegance and \ncan be individually adjusted to any interior.  \nAs a solitary piece or ensemble with different \nheights and tabletop sizes, as well as materials \nsuch as brass, glass or marble, it offers \nnumerous design possibilities. Grouped with \noverlapping tabletops, the tables offer a \ngenerous and extendible storage surface.  \nBow No. 3 is completely made of marble and \nfascinates with the unique marbling of each \npiece, making each table one of a kind.\nNeu No. 6: rechteckig und bequeme Höhe \nNew No. 6: rectangular and comfortable height\n",19,{"image":88,"text":89,"number":90},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.20.png","Tube Light Floor Lamp \nEileen Gray, 1927\nReduziert auf ein Minimum ist die Tube Light \nvon Eileen Gray radikal modern und integriert \nsich zurückhaltend in jede Umgebung.  \nIn schlichter Ästhetik verbinden sich der Fuß, \ndie schlanke Stange aus Stahl und das \nLeuchtmittel: eine Linienlampe, die dem Licht \ndurch die relativ große Oberfläche eine breite \nStreuung verleiht, so dass es sanft und \ngleichmäßig in den Raum abgegeben wird. \nMit neuer Dimmfunktion lässt sich nun auch \ndie Intensität anpassen. Die Tube Light wurde \nin zahlreiche Sammlungen von Designmuseen \nweltweit als Design-Klassiker aufgenommen. \nDie 2022 neu ergänzte, schwarze Version der \nStehleuchte fügt sich harmonisch in die Eileen \nGray-Kollektion.\nReduced to a minimum, Eileen Gray’s Tube \nLight is radically modern and discretely \nintegrates with any environment. The base, \nslender steel bar and light tube merge into  \na unity of simple aesthetics: a linear lamp \nthat provides the light with a wide scatter \ndue to the relatively large surface, emitting  \nit softly and evenly into the environment.  \nThe new dimming function now enables the \nadjustment of the light intensity. Tube Light \nwas added to numerous design museum \ncollections around the world as a design \nclassic. The black version of the floor lamp, \nnewly added in 2022, blends harmoniously \nwith the Eileen Gray collection.\nNeu mit Dimmer und Variante in Schwarz \nNew with dimmer and in a black version\nOBEN TOP Tube Light Floor Lamp Chrome Version, Day Bed, Bibendum Armchair, Menton Table \nRECHTS RIGHT Tube Light Floor Lamp Black Version\n",20,{"image":92,"text":23,"number":93},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.21.png",21,{"image":95,"text":23,"number":96},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.22.png",22,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.23.png","Roattino Floor Lamp\nEileen Gray, 1931\nNeu mit Dimmer und Variante in Weiß \nNew with dimmer and in a white version\nAls hätte ein Schlangenbeschwörer das Kabel \nin die Höhe steigen und den Leuchtenkopf \nneigen lassen verläuft die geschwungene \nLinie der Stehleuchte Roattino. Ein S-förmig \ngebogenes Stahlrohr führt das Kabel und \nsteht auf einem runden Fuß. Eigenwillig, nicht \nkonform, mit einem Schuss Humor, ist dies \nein für Eileen Gray typischer Entwurf. Ein \neleganter, schwenkbarer Stoffschirm dämpft \ndas Licht und macht die Roattino Floor Lamp \nzu einer besonders angenehmen Lichtquelle. \nMit der weißen Version der Stehleuchte bietet \ndas Eileen Gray-Sortiment ab 2022 eine \nerweiterte Auswahl. Mit neuer Dimmfunktion \nerhält das beliebte Leuchtenmodell ein \ntechnisches Update.\nThe curved line of the Roattino floor lamp \nlooks as though a snake charmer had made \nthe cable rise and the lamp head bend. An \nS-shaped bent steel tube guides the cable \nand rests on a round base. Individual, \nnon-conforming and with a tad of humour, \nthis is a design typical for Eileen Gray. An \nelegant, swivable fabric shade dims the light \nand makes Roattino an especially pleasant \nlight source. With the white version of the \nfloor lamp, the Eileen Gray collection offers  \nan extended selection from 2022. The new \ndimming function equips the popular lamp \nwith a technical update.\nLINKS LEFT Monte Carlo Rug, Roattino Floor Lamp White Version, Bibendum Armchair \nOBEN TOP Roattino Floor Lamp Black Version, Adjustable Table E1027 Black Version\n",23,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.24.png","Pailla Wall & Ceiling Lamp\nEileen Gray, 1927\nEntworfen wurde Pailla von Eileen Gray für ihre \nVilla E1027 an der Cote d‘Azur, ein architek- \ntonisches Meisterwerk, aus dem einige ihrer \nwichtigsten Möbelentwürfe hervorgingen. \nReduziert auf Fassung und Leuchtmittel wird \nPailla direkt an Wand oder Decke montiert. \nWie viele Einbauten, Klappmechanismen oder \nDekors in E1027 erinnert auch diese Leuchte \nan die Interieurs von Ozeandampfern. Die \nschlichte Form lässt sich alleine oder in Reihung \nunkompliziert einsetzen. Die spiegelnde \nOberfläche der Chrom-Version setzt glänzende \nAkzente im Raum. Die 2022 neu hinzugefügte \nschwarz-matte Ausführung macht Pailla noch \nvielseitiger einsetzbar und lässt sich perfekt \nmit den schwarzen Klassikern aus dem Eileen \nGray Sortiment kombinieren.\nPailla was designed by Eileen Gray for  \nher Villa E1027 on the Côte d’Azur – an \narchitectural masterpiece which resulted \nin some of her most important furniture \ndesigns. Reduced to socket and bulb, \ndirectly mounted on the wall, Pailla, like \nmany installations, folding mechanisms  \nor decors in E1027, is reminiscent of the \ninteriors of ocean liners. The simple form \ncan be used on its own or lined up easily. \nThe reflecting surface of the chrome-\nplated version adds shiny highlights to any \nroom. The black matte version, added in \n2022, makes Pailla even more versatile in \nits use and a perfect match with the black \nclassics from the Eileen Gray collection. \nNeu mit Variante in Schwarz \nNew in a black version\n",24,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.25.png","LINKS LEFT Pailla Wall & Ceiling Lamp Chrome Version \nOBEN TOP Pailla Wall & Ceiling Lamp Black Version\n",25,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.26.png","1878 – 1976\nAus einer irisch-schottischen Adelsfamilie \nstammend, ging Eileen Gray zum Studium der \nArchitektur und des Designs nach London und \nParis. Zunächst wurde sie als führende Designerin \nvon Lackwänden und Dekorpaneelen bekannt. \nIhre Möbel aus Stahlrohr, damals revolutionär, \ngelten heute als Klassiker. Sie wird als einzige \nFrau in einem Atemzug genannt mit Le Corbusier, \nMies van der Rohe und Marcel Breuer. Mit ihren \nDesign- und Architekturtheorien prägte sie unsere \nVorstellung vom Wohnen, und noch 30 Jahre  \nnach ihrem Tod gilt sie als Inbegriff der Moderne.  \nAls Krönung ihrer Karriere wurde sie 1972 von der  \nRoyal Society of Art in London zum Royal Designer \nto Industry ernannt. Ihr legendärer Adjustable \nTable E1027 wurde 1978 vom Museum of Modern \nArt in New York in seine ständige Design-Samm-\nlung aufgenommen. In den 1970er Jahren begann \nEileen Gray eine Zusammenarbeit mit Zeev Aram, \num ihre Möbel und Leuchten zur Serienreife zu \nbringen. 1973 übertrug sie die weltweiten Rechte \nzur Produktion und Distribution ihrer Entwürfe  \nan Aram Designs Ltd., London. Schon die Verei-\nnigten Werkstätten in München, aus denen 1990 \nClassiCon als Unternehmen hervorging, haben  \ndie Entwürfe von Eileen Gray in Lizenz hergestellt \nund vertrieben. Ihr Lebenswerk wurde 2013 mit  \neiner großen Einzelausstellung im Centre Pompi- \ndou gewürdigt, an deren Erfolg die Produktionen  \ndes Spielfilms ‚Price of Desire‘ sowie des Doku- \nmentarfilms ‚Gray Matters‘ (beide 2014) anknüp-\nfen. Nach langjährigen Sanierungsarbeiten wurde \nEileen Gray’s Haus ‚E1027‘ in Roquebrune im \nSommer 2015 wieder für Besucher geöffnet.\nComing from an aristocratic Irish-Scottish \nfamily, Eileen Gray went to London and Paris \nto study architecture and design. She first \nmade a name for herself as a leading designer \nof lacquered walls and decorative panels. Her \ntubular steel furniture designs, at the time revo-\nlutionary, have become classics. Today she is \nstill considered the epitome of Modernism and \nis the only woman whose name is mentioned \nin the same breath as Le Corbusier, Mies van \nder Rohe and Marcel Breuer. With her theories \non design and architecture she left an indelible \nmark on our ideas about living. The high point \nof her career was her appointment to the Royal \nSociety of Art in London in 1972 as Royal De-\nsigner to Industry. The Museum of Modern Art \nadded her legendary Adjustable Table E1027 to \nits permanent design collection in 1978. In the \n1970s Eileen Gray began working with Zeev \nAram to put her furniture, rugs and lamps into \nseries production. In 1973, she granted the \nworldwide rights to manufacture and distribute \nher designs to Aram Designs Ltd., London. The \nVereinigte Werkstätten, from which ClassiCon  \nemerged in 1990, already produced and dis-\ntributed Eileen Gray designs under license. Her \nlifetime achievement was honoured in 2013 \nwith a large solo exhibition at Centre Pompidou. \nThe production of the movie ‘Price of Desire’ \nand the documentary film ‘Gray matters’ (both \n2014) follow the success of this exhibition. \nAfter years of restoration work Eileen Gray’s \nhouse ‘E1027’ in Roquebrune was reopened  \nfor visitors in summer 2015. \nHerzog & de Meuron was founded in 1978 by the two architects Jacques \nHerzog and Pierre de Meuron in Basel. Today, the office is managed by \nthe two founders together with the senior partners Christine Binswanger, \nAscan Mergenthaler, Stefan Marbach, Esther Zusteg, and Jason \nFrantzen. An international team of almost 500 employees, including the \ntwo founders, five senior partners, ten partners, and 41 associates is \nworking on projects across Europe, North and South America, and Asia. \nHerzog & de Meuron’s headquarters are located in Basel, with branch \noffices in London, New York, Hong Kong, Berlin and Copenhagen. The \nrenowned office has designed a large palette of projects that range in \nscale from private homes to urban planning. Many of the projects are \npublic institutions such as museums, stadiums and hospitals, including \nthe Tate Gallery of Modern Art in London, the M+ Museum for Visual \nCulture in Hong Kong, the Pérez Art Museum Miami (PAMM), the Allianz \nArena in Munich and the Elbphilharmonie in Hamburg. The work of \nHerzog & de Meuron has received multiple awards, among them the \nPritzker Architecture Prize, the European Cultural Prize and the UNESCO \nAsia-Pacific Award.\nHerzog & de Meuron wurde 1978 von den beiden Architekten Jacques Her- \nzog und Pierre de Meuron in Basel gegründet. Heute wird das Büro von den \nbeiden Gründern gemeinsam mit den Senior Partnern Christine Binswanger, \nAscan Mergenthaler, Stefan Marbach, Esther Zumsteg und Jason Frantzen  \ngeleitet. Ein internationales Team von fast 500 Mitarbeitern, darunter die  \nbeiden Gründer, fünf Senior Partner, zehn Partner und 41 Associates, arbeitet \nan Projekten in ganz Europa, Nord- und Südamerika und Asien. Die Haupt- \nniederlassung Herzog & de Meurons befindet sich in Basel, weitere Zweig-\nstellen sind in London, New York, Hongkong, Berlin und Kopenhagen. Das \nrenommierte Büro hat eine breite Palette von Projekten entworfen, die in \nihrem Maßstab vom Privathaus bis hin zur Stadtplanung reichen. Bei vielen \nProjekten handelt es sich um öffentliche Einrichtungen wie Museen, Stadien \nund Krankenhäuser. Darunter beispielsweise die Tate Gallery of Modern Art  \nin London, das M+ Museum for Visual Culture in Hong Kong, das Pérez Art \nMuseum Miami (PAMM), die Allianz Arena in München oder die Elbphil-\nharmonie in Hamburg. Die Arbeiten Herzog & de Meurons wurden vielfach \nprämiert, unter anderem mit dem Pritzker-Architekturpreis, dem Europäischen \nKulturpreis und dem UNESCO Asia-Pacific Award.\nEileen Gray\nHerzog & de Meuron\nDesigners\n„Um schöpferisch zu sein, \nmuss man zuerst alles in \nFrage stellen“.\n“To create you must first  \nquestion everything.” \nEileen Gray\n",26,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.27.png","1988 \u002F 1989\nHinter dem 2017 in Barcelona gegrün-\ndeten Designstudio Ortega-Guijarro \nstehen Carlos Guijarro und Alex Ortega. \nDie beiden Gestalter mit Hintergrund \naus Industrie- und Interior-Design haben \nes sich zum Ziel gesetzt, mit ihren \nArbeiten individuelle und überraschende \nAlltagslösungen zu schaffen. Eine klare \nund zugleich poetische Ästhetik ist das \nMarkenzeichen ihrer Entwürfe. Auf dem \nWeg dorthin begeben sie sich immer \nwieder von Neuem auf die Suche nach \nder perfekten Schnittstelle aus Experi-\nmentierfreude und technischer Innova-\ntion. Die Disziplinen, innerhalb derer sie \nsich dabei bewegen umfassen Kunst, \nMode und Technologie gleichermaßen.\nCarlos Guijarro and Alex Ortega stand \nbehind the design studio OrtegaGuijarro  \nfounded in 2017 in Barcelona. The two  \ndesigners with a background in indus-\ntrial and interior design have set them-\nselves the goal to create individual and \nsurprising everyday solutions with their \nwork. The trademark of their designs \nis clear and, at the same time, poetic \naesthetics. On their way towards their \ngoal, they always set out on a search for \nthe perfect interface between curiosity, \nexperimentation and technical innova-\ntion. The disciplines within which they \nmove comprise art and fashion as well \nas technology.\n1973\nDer Brasilianer Guilherme Torres wurde \nin Londrina, Brasilien geboren und \nschloss sein Studium 1998 an der UNIFIL \nUniversity ab. 2001 gründete er sein \nerstes Studio mit dem er dann 2010 \nnach São Paulo umzog. 2017 erweiterte \nGuilherme Torres sein Studio mit einem \nweiteren Standbein in New York. Der \npreisgekrönte Architekt ist bekannt für \nseine innovativen Wohn- und Gewerbear-\nchitekturprojekte sowie seine Interieurs \nund Möbelentwürfe. Seine Architektur \nzeigt eine klare Linienführung und frei \nschwebende Volumina. Er entwickelt sie \nals Gesamtkonzept, verbindet Traditio-\nnelles mit der Moderne, testet die Gren-\nzen von Materialien aus, entwirft neue \nStrukturen und Oberflächen bis hin zu \nden Möbeln – immer frei von Monotonie \nund nie alltäglich. Torres ist Perfektionist. \nEin Zitat des französischen Duos Daft \nPunk unterstreicht diese Haltung nicht \nnur auf den Wänden seines Studios son- \ndern auch auf seiner Haut: Work it har-\nder, Make it better, Do it faster, Makes \nus stronger. \nThe Brazilian Guilherme Torres was \nborn in Londrina, Brazil, and concluded \nhis studies at UNIFIL University in \n1998. In 2001 he founded his first \nstudio; in 2010 he moved with his \nstudio to São Paulo. In 2017, Guilherme \nTorres expanded his studio with an \nadditional mainstay in New York. The \naward-winning architect is famous  \nfor his innovative residential and com-\nmercial architectural projects as well \nas his interiors and furniture designs. \nHis architecture displays a clear line \nmanagement and freely floating vol-\numes. He develops them as an overall \nconcept, combines tradition with \nmodernism, tests the limits of materi-\nals, and designs new structures and \nsurfaces – even in his furniture, always \navoiding monotony and ordinariness. \nTorres is a perfectionist. A quote from \nthe French duo Daft Punk underscores \nthis attitude not only on the walls of \nhis studio but also on his skin: Work \nit harder, Make it better, Do it faster, \nMakes us stronger.\nOrtegaGuijarro\nGuilherme Torres\n1974\nChristian Haas wurde 1974 in Erlangen, Deutschland \ngeboren. Nur ein Jahr nach seinem Studienabschluss als \nIndustriedesigner gründete er im Jahr 2000 sein eigenes \nStudio. Seither entwirft er Produkte in verschiedenen \nDisziplinen, von Möbeln und Leuchten, bis hin zu Porzellan \nund Glas. In seinem Designansatz führt Christian Haas \nEinfachheit und Eleganz zusammen. Sein Sinn für Ästhetik \nist geprägt von einer Harmonie aus Nüchternheit, Nutzen, \nEmotionalität, Langlebigkeit und Einzigartigkeit. Mit seinem \nStudio arbeitet der Industriedesigner für internationale \nMarken wie beispielsweise Rosenthal, Arita2016 und Tecta \nsowie für ausgewählte Designgalerien. Im Laufe der Jahre \nwurde Christian Haas‘ Arbeit mit Auszeichnungen wie dem \nRed Dot Design Award und dem Elle Decoration Internatio-\nnal Design Award geehrt. Zu seinen bemerkenswertesten \nArbeiten gehört die Leuchten-Edition Ropes, die Teil der \nständigen Sammlung des Vitra Design Museums ist. Dazu \nkommen die umfangreiche Möbelserie für den japanischen \nHersteller Karimoku New Standard sowie einige der erfolg- \nreichsten Geschirrserien für unter anderem Villeroy & Boch. \nChristian Haas lebt und arbeitet in Porto, Portugal.\nChristian Haas was born in 1974 in Erlangen, Germany. \nHe founded his own studio in the year 2000, just one year \nafter his graduating with a degree in industrial design. Since \nthen, he has been designing products in various disciplines, \nfrom furniture to lamps, porcelain and glass. In his design \napproach, Christian Haas combines simplicity and elegance. \nHis sense for aesthetics is characterised by a harmony of \nsobriety, usefulness, emotionality, durability and uniqueness. \nWith his studio, the industrial designer works for interna-\ntional brands such as Rosenthal, Arita2016 and Tecta, as \nwell as for selected design galleries. Over the course of the \nyears, Christian Haas’ work has been honoured with several \nawards, such as the Red Dot Design Award and the Elle \nDecoration International Design Award. His most remarkable \nwork includes the Ropes edition of lamps, which is part of \nthe permanent collection of the Vitra Design Museum. The \ncomprehensive furniture series for the Japanese manufac- \nturer Karimoku New Standard and some of the most suc-\ncessful series of dishes, among others for Villeroy & Boch, \ncan be added to his success. Christian Haas lives and works \nin Porto, Portugal. \nChristian Haas\n",27,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.28.png","Details\n70 x 70 cm\n23 x 23\n4\n19\nNo.6\n100 x 70 cm\n53 x 23\n4\n37\nNo.5\n100 x 100 cm\n33 x 33\n4\n25\nNo. 1\nNo. 4\n100 x 100 cm\n33 x 33\n4\n19\nNo. 2\n70 x 70 cm\n23 x 23\n4\n25\nNo. 3\n31\n4\n70 x 70 cm\n23 x 23\nMatéria\nBeistelltisch, Sideboard und Couchtisch. Gestell in Ahorn massiv, natur, klar lackiert. Aufwändig gefräste \nTischplatte aus Travertin**, natur oder mit in Indigo gefärbten Vertiefungen. Tischplattenunterbau aus \nfarbig lackiertem Metall in Hellelfenbein (RAL 1015). Filzgleiter in Schwarz.\nSide table, long table, coffee table. Frame solid maple, natural, with clear varnish. Travertine** tabletop, \nelaborately milled, natural or with indigo-dyed indentations. Tabletop support colour-lacquered metal in \nlight ivory (RAL 1015). Black felt gliders.\nCorker\nHocker oder Beistelltisch. Dunkler Kork mit Imprägnierung, aus einem Block gefräst.\nStool or side table. Dark cork with impregnation, milled from one block.\nSide Table\nLong Table\nCoffee Table\n110 x 39 cm\n57\n30\n170 x 39 cm\n106\n23\n37\n160 x 70 cm\n97\nNo. 1\n38\nØ 38 cm\nNo. 2\n40\n Ø 50 cm\nNo. 3\n Ø 47 cm\n48\nBow\nCouchtisch. Erhältlich in drei Tischplattengrößen und vier Höhen. Tisch aus massivem Messingblech, \nnatur oder brüniert, klar lackiert. Tischplatte aus Kristallglas, schwarz lackiert oder aus Marmor** in  \nverschiedenen Ausführungen, poliert und imprägniert. Höhenverstellbare Filzgleiter. Bow No. 3 auch  \nin massivem Marmor erhältlich.\nCoffee table. Available in three tabletop sizes and four heights. Table natural or burnished solid brass \nsheet, with clear varnish. Tabletop crystal glass, black lacquered or marble** tabletop in various versions, \npolished and impregnated. Height-adjustable felt gliders. Bow No. 3 is also available in solid marble.\n",28,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.29.png","Sol\nBeistelltisch. Glas (ESG bzw. VSG) in Bronze, Grau oder Royalblau.\nSide table. Glass (SPSG resp. LSG) in bronze, grey or royal blue.\n46 x 50 cm\n1,2\n51\n41\nAlle Rechte vorbehalten. Technische \nÄnderungen vorbehalten, Farbabweichungen \nund Irrtümer sind nicht ausgeschlossen. \nAll rights reserved. Subject to technical \nmodifications. Actual colours may vary.  \nErrors can not be excluded.\n**  \nInformationen zu den Natursteinen und \ntechnische Details zu den Leuchten finden \nSie in unserer Preisliste.\nInformation about the natural stones and \ntechnical details about the lamps are inclu-\nded in our price list.\nAll Eileen Gray designs:  \nAuthorised by The World Licence \nHolder Aram Designs Ltd., London\nPhotos: Christian Kain, Elias Hassos,  \nGerhardt Kellermann, Daniel Breidt, \nFlorian Holzherr, Mario Villanueva, \nMarkus Jans (Portrait Christian Haas)\n© ClassiCon GmbH, Munich \n*  \nNeue Leuchten-Ausführungen \nvoraussichtlich verfügbar ab \nHerbst 2022. \nNew lamp versions planned  \nto be available autumn 2022.\n Ø 25 cm\n104\n151\n68 cm\n Ø 21\n12 cm\nØ  6\nØ 8,5\nStehleuchte. Stahlrohr, verchromt \noder schwarz lackiert, mit schwar-\nzen Kunststofffassungen zur Auf- \nnahme des Leuchtmittels. Boden-\nplatte aus Metall, verchromt oder \nschwarz lackiert, mit Druckschalter, \ndimmbar. Filzgleiter in Grau oder \nSchwarz. Erhältlich als CE Version \n230 V und US Version 110 V.  \nInklusive Leuchtmittel**.\nFloor lamp. Tubular steel, chrome- \nplated or black lacquered with black \nplastic lamp sockets for mounting \nlight source. Metal floor plate, \nchrome-plated or black lacquered, \nwith push-button switch, dimmable. \nFelt gliders in grey or black. Avai-\nlable as CE version 230 V and US \nversion 110 V. Light tube included**.\nWand- und Deckenleuchte. \nStahl, verchromt oder \nschwarz lackiert. Zweiteiliger \nZylinder mit Schraubgewinde. \nErhältlich als CE Version \n230 V und US Version 110 V. \nInklusive Leuchtmittel**.\nWall and ceiling lamp.  \nSteel, chrome-plated or black \nlacquered. Two-piece cylinder \nwith thread. Available as CE \nversion 230 V and US version \n110 V. Light bulb included**.\nStehleuchte. S-förmig gebogenes \nStahlrohr und Fuß aus Stahl, schwarz \noder cremeweiß lackiert. Horizontal \nschwenkbarer Leuchtenkopf. Lam-\npenschirm aus Stoff in Weiß, innen \nplastifiziert (schwer entflammbar nach \nB1). Fußschalter, dimmbar. Filzgleiter \nin Grau. Erhältlich als CE Version 230 \nV und US Version 110 V. Inklusive \nLeuchtmittel**.\nFloor lamp. S-shaped tubular steel \nand steel base, lacquered in black or \ncream white. Horizontally swivable \nlamp head. Lamp shade fabric in white, \nplasticised inside (hardly inflammable \naccording to B1). Foot switch, dimma-\nble. Felt gliders in grey. Available as  \nCE version 230 V and US version 110 V. \nLight bulb included**. \nPailla Black Version *\nRoattino White Version *\nTube Light Black Version *\nFollow us: @classicon\n",29,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.30.png","Stühle & Sessel Chairs & Armchairs\nDaybeds & Sofas\nEUVIRA LOUNGE CHAIR 2015 \nJADER ALMEIDA\nH 73\u002F78 \u002F W 71 \u002F D 74 \u002F SH 42\u002F48\nNON CONFORMIST ARMCHAIR  \n1926 EILEEN GRAY\nH 78 \u002F W 57 \u002F D 63 \u002F SH 49\nHocker Stools\nAËRIAS CHAIR 2018\nIPPOLITO FLEITZ GROUP \nTILLA GOLDBERG\nH 82 \u002F W 55 \u002F D 54 \u002F SH 46 \nMARS CHAIR 2003 \nKONSTANTIN GRCIC \nH 76 \u002F W 48 \u002F D 54 \u002F SH 46\nSEDAN LOUNGE CHAIR 2013 \nNERI&HU\nH 74 \u002F W 85 \u002F D 67 \u002F SH42\nSEDAN CHAIR 2015 \nNERI&HU\nH 84 \u002F W 45 \u002F D 54 \u002F SH 47\nVENUS CHAIR 2006\nKONSTANTIN GRCIC\nH 81 \u002F W 53 \u002F D 53 \u002F SH 46\nBONAPARTE ARMCHAIR 1935\nEILEEN GRAY\nH 74 \u002F W 62 \u002F D 67 \u002F SH 47\nROQUEBRUNE CHAIR 1927\nEILEEN GRAY\nH 79 \u002F W 45 \u002F D 53 \u002F SH 47\nAIXIA CHAIR 1928\nEILEEN GRAY\nH 84 \u002F W 40 \u002F D 52 \u002F SH 48 \nClassiCon Portfolio\nMUNICH ARMCHAIR 2011\nSAUERBRUCH HUTTON\nH 81 \u002F W 69 \u002F D 54 \u002F SH 47\nMUNICH STOOL & LOUNGE CHAIR \n2012 & 2009 SAUERBRUCH HUTTON\nStool H 41 \u002F W 53 \u002F D 42\nLounge Chair H 72 \u002F W 97 \u002F D 69 \u002F SH 41\nEUVIRA ROCKING CHAIR 2013 \nJADER ALMEIDA\nH 68\u002F73 \u002F W 72 \u002F D 77 \u002F SH 41\u002F47\nCHAOS CHAIR 2001 \nKONSTANTIN GRCIC\nH 78 \u002F W 87 \u002F D 70 \u002F SH 43\nBIBENDUM ARMCHAIR 1926 \nEILEEN GRAY\nH 72 \u002F W 90 \u002F D 79 \u002F SH 42\nMUNICH SOFA 2010\nSAUERBRUCH HUTTON \nH 76 \u002F W 163 \u002F D 77 \u002F SH 41\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\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 SH ~43\nMONTE CARLO SOFA 1929 \nEILEEN GRAY\nH 60 \u002F W 280 \u002F D 95 \u002F SH 40\nODIN SOFA 2005\nKONSTANTIN GRCIC\nH 74 \u002F W 160 \u002F D 69 \u002F SH 44\nULISSE DAYBED 2016\nKONSTANTIN GRCIC\nH 52\u002F66\u002F78 \u002F W 211 \u002F D 77 \u002F SH 40\u002F46\nBANU STOOL 1931 \nECKART MUTHESIUS\nH 46 \u002F W 52 \u002F D 42\nCORKER NO. 1, NO. 2 & NO. 3 2022 \nHERZOG & DE MEURON\nNO. 1 H 38 \u002F DM 38, NO. 2 H 40 \u002F DM 50,  \nNO. 3 H 48 \u002F DM 47\nNEW \n2022\n",30,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.31.png","Beistell- & Couchtische Side & Coffee Tables\nBarhocker Bar Stools\nDE STIJL TABLE 1922\nEILEEN GRAY \nH 81 \u002F W 61 \u002F D 64\nDIANA A SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 42 \u002F W 53 \u002F D 25\nBOW COFFEE TABLE NO. 6 2022\nGUILHERME TORRES  \nH 37 \u002F W 100 \u002F D 70\nBOW COFFEE TABLE NO.1, NO. 2, NO.3, NO. 4, NO.5 2018  \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\nBOW COFFEE TABLE NO.3 \nMARBLE 2019  \nGUILHERME TORRES\nH 31 \u002F W 70 \u002F D 70\nBELL SIDE & COFFEE TABLE\n2012 SEBASTIAN HERKNER\nSide H 53 \u002F DM 50 \nCoffee H 36 \u002F DM 75\nBELL SIDE & COFFEE TABLE\n2012 SEBASTIAN HERKNER\nSide H 53 \u002F DM 50 \nCoffee H 36 \u002F DM 75\nBELL SIDE & COFFEE TABLE \nCOPPER SPECIAL EDITION 2013 \nSEBASTIAN HERKNER\nSide H 53 \u002F DM 50 \nCoffee H 36 \u002F DM 75\nADJUSTABLE TABLE E1027 1927 \nCHROME & BLACK VERSION \nEILEEN GRAY\nH 64-102 \u002F TH 55-93 \u002F DM 52\nSATISH BAR STOOL 1931\nECKART MUTHESIUS \nH 78 \u002F DM 36\nTRITON COUNTER STOOL 2007 \nCLEMENS WEISSHAAR\nH 65 \u002F W 50 \u002F D 49\nTRITON BAR STOOL 2007 \nCLEMENS WEISSHAAR \nH 75 \u002F W 50 \u002F D 49\nBAR STOOL NO. 1 1928\nEILEEN GRAY\nH 70-80 \u002F DM 38\nBAR STOOL NO. 2 1928\nEILEEN GRAY\nH 74 \u002F W 30 \u002F D 39\nDIANA E SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 54 \u002F W 61 \u002F D 47\nDIANA B SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 53 \u002F W 47 \u002F D 43\nDIANA D COFFEE TABLE 2002\nKONSTANTIN GRCIC\nH 27 \u002F W 90 \u002F D 64\nDIANA C SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 34 \u002F W 47 \u002F D 36\nDIANA F SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 44 \u002F W 65 \u002F D 41\nPETITE COIFFEUSE 1926 \nEILEEN GRAY\nH 84 \u002F TH 76 \u002F W 47 \u002F D 66\nMATÉRIA SIDE, LONG & COFFEE TABLE 2021 \nCHRISTIAN HAAS\nSide Table H 30 \u002F W 110 \u002F D 39, Long Table H 23 \u002F W 170 \u002F D 39\nCoffee Table H 37 \u002F W 160 \u002F D 70\nMENTON TABLE 1932\nEILEEN GRAY \nH 42\u002F65 \u002F TH 32\u002F65 \u002F W 128 \n\u002F D 65\u002F56\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\nNEW \nVersion\n2022\n",31,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F95\u002F0479a061291f4bfb65c853672223da-2871b3cb30.32.png","Accessoires Accessories\nRegale Shelves\nSekretäre Home Desks\nTische Tables\nTAIDGH SHELF A 2019\nTAIDGH O‘NEILL\nH 54 \u002F W 56 \u002F D 30\nZELOS HOME DESK 2008\nCHRISTOPH BÖNINGER \nH 86 \u002F TH 75 \u002F W 68\u002F120 \u002F D 54\nPARIS SHELF 2005\nBARBER OSGERBY \nH 39\u002F75\u002F111 \u002F W 200 \u002F D 35 \nPEGASUS HOME DESK 2014\nIPPOLITO FLEITZ GROUP \n\u002FTILLA GOLDBERG\nH 75 \u002F W 121 \u002F D 51\nORCUS HOME DESK 1993\nKONSTANTIN GRCIC \nH 123\u002F125 \u002F TH 73 \u002F W 105 \u002F D 42\u002F92\nPLI TABLE 2017\nVICTORIA WILMOTTE\nH 73\u002F74 \u002F W 180 \u002F D 140\nLOU PEROU TABLE 1926\nEILEEN GRAY \nH 70\u002F73 \u002F W 130\u002F195 \u002F D 65\nPALLAS TABLE 2003\nKONSTANTIN GRCIC\nH 72 \u002F W 240\u002F300 \u002F D 75\nJEAN TABLE 1929\nEILEEN GRAY\nH 70\u002F72 \u002F W 65\u002F130 \u002F D 70\nDOUBLE X 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