[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-alivar-mvsevm-2019":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":520},{"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":515,"matched_pages":516,"match_count":517,"two_pages":518,"show_text":519},9615,"MVSEVM 2019","alivar-mvsevm-2019","\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F4d\u002Fb6aa66c34308501e56056bc107eb74.pdf","Alivar",471,"alivar","9.3 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,297,301,305,309,313,317,321,325,329,333,337,341,345,349,353,357,361,365,369,373,377,381,385,389,393,397,401,405,409,413,417,421,425,429,433,437,441,445,449,453,457,461,465,469,473,477,481,485,489,493,497,501,505,509,513],{"image":7,"text":15,"number":16},"MVSEVM – I Classici del mobile moderno\nNel 1984 nasce la luminosa idea che ispira e muove a tutt’oggi \nla collezione Mvsevm. In realtà il principio ispiratore risale agli anni \nSessanta, quando le opere creative dei maestri del design moderno \nerano visibili solo nei musei o in pubblicazioni specializzate. \nRifacendosi alla tradizione del design realizzata nell’operato \ndel Werkbund, alle teorizzazioni del “Neue Sachlichkert”, alle \nassociazioni artistiche ed artigiane, come l’inglese Arts and Crafts, \nche si proponevano di collegare sinergicamente arte, artigianato \ne industria, si giunge a considerare in una nuova prospettiva \nil grande patrimonio di ricerca formale e funzionale espresso nei \nmobili, negli oggetti del vivere quotidiano. Da questa intuizione, \npuntualmente approfondita con il passare degli anni, è nata  \nla più ampia e coerente collezione di mobili di design prodotta \ne distribuita da un’unica società: la collezione Mvsevm.\n100% Made in Italy\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.2.png","3\n2\nNel 1984 nasce la luminosa idea che\nispira e muove a tutt’oggi la collezione \nMvsevm. In realtà il principio ispiratore \nrisale agli anni Sessanta, quando le \nopere creative dei maestri del design \nmoderno erano visibili solo nei musei \no in pubblicazioni specializzate. \nRifacendosi alla tradizione del design \nrealizzata nell’operato del Werkbund, \nalle teorizzazioni del “Neue Sachlichkert”, \nalle associazioni artistiche ed artigiane, \ncome l’inglese Arts and Crafts, che si \nproponevano di collegare sinergicamente \narte, artigianato e industria, si giunge \na considerare in una nuova prospettiva \nil grande patrimonio di ricerca formale \ne funzionale espresso nei mobili, \nnegli oggetti del vivere quotidiano.\n \n \nDa questa intuizione, puntualmente\napprofondita con il passare degli anni,\nè nata la più ampia e coerente collezione \ndi mobili di design prodotta e distribuita \nda un’unica società: la collezione Mvsevm. \nL’attenzione posta nell’osservare il \npanorama culturale del nostro secolo, \nalla ricerca di autori le cui opere di \narredamento sono quelle che meglio \nesprimono il gusto contemporaneo,  \nha portato a riprodurre nei “Classici  \ndel mobile moderno” autori noti al  \nvasto pubblico come Mies Van der Rohe, \nAlvar Aalto, Marcel Breuer. Insieme  \na questi anche altri designers altrettanto \nvalidi e di un’attualità sconcertante, \nma meno conosciuti, come Jean Michel \nFrank, Takehiko Mizutani, Frederick \nKiesler, Gerald Summers, Wassili e Hans \nLuckardt, Isamu Noguchi, George Nelson\ne Jules Leleu.\n \nLa fedeltà filologica è alla base\ndi questa collezione di mobili d’autore  \ne il catalogo Mvsevm (159 prodotti  \ncon descrizione bibliografica, storia \ndelle origini e della motivazione ideativa) \nsi è trasformato in un ricco volume, \ndistribuito nelle librerie come oggetto  \ndi informazione e ricerca: l’antologia  \ndi una prestigiosa serie di mobili di grande \neleganza formale, che attraversano \nil tempo, al di là dei condizionamenti \ndelle mode e delle tendenze. Questi \ncomplementi d’arredo, finiti con cura\ne aggiornati costantemente sulla base\ndi ricerche e studi, fedeli nella forma  \ne nella tipologia dei materiali ai progetti \noriginali, vengono proposti al pubblico\ndi oggi.\nPhilosophy: MVSEVM The Classics of Modern Furniture \nThe inspired idea which is still today  \na guiding concept of Mvsevm collection \noriginated in 1984. However the true \norigins go back to the 60’s, an era in \nwhich the creative works of modern \ndesign masters could only be seen in \nmuseums or specialized magazines. \nThe grand heritage of formal and \nfunctional design as expressed in \nfurnishings and everyday domestic \nobjects was seen in a new light thanks \nto the Werkbund initiatives, the theories \nof the “Neue Sachlichkert” and the \narts and crafts associations such as the \nBritish Arts and Crafts which provided \na new insight into the dynamic merging \nof arts, crafts and industry. \n \nIt is on the basis of this stylistic \nintuition, painstakingly refined and \ndeveloped through the years, which\nhas led to the creation of an extensive\nand coherent collection of designer \nfurnishings, produced and distributed\nby the same company: Mvsevm \nCollection. The deep insight into the \ncultural spectrum of this century,\nand the search for those artists who\nbest express contemporary tastes has\nled to the reproduction of the works\nof famous masters such as Mies Van\nder Rohe, Alvar Aalto, Marcel Breuer, \nfeatured in “The Classics of Modern \nFurniture” range. As well as the works\nof less well known artists, but equally \nvalid and amazingly up–to–date, such\nas Jean Michel Frank, Takehiko Mizutani, \nFrederick Kiesler, Gerald Summers, \nWassili and Hans Luckardt, Isamu \nNoguchi, George Nelson and Jules \nLeleu.\n \nPhilological accuracy is the basis \nof this master furnishing collection\nand the Mvsevm catalogue (featuring\n159 products with bibliographic \ndescription, history of the origins and \ncreative inspiration) has been transformed \ninto a valuable book in its own right \nand will be distributed in bookshops as \na source of reference and information; \nforming an anthology of higly elegant and \nformal furnishings throught time, which go \nbeyond the limitations imposed by fashion \nand trends. These furnishings ranges, \nwhich are continually refined and updated \non the basis of studies and research, are \nfurther enhanced by the addition of new \nmodels each year which, while remaining \nfaithful to the original designs in terms \nof the materials and forms, are now \noffered to the consumers of today.\nMvsevm\nAnthology\nPhilosophy\nWilliam Morris – ita “La regola aurea, valida per tutti […]: non avere nella tua casa \nnulla che tu non sappia utile, o che non creda bello.” eng “Have nothing \nin your house that you do not know to be useful, or believe to be beautiful.”\nA. Art. 705 (↗ Pag. 104) designed by Harry Bertoia.\nMvsevm\nAnthology\nPhilosophy\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.3.png","5\n4\nMvsevm\nAnthology\nPhilosophy\nB. \nMostra sul Bauhaus di Dessau a Maximilian–Park, Hamm ⁄ Westfalia, Germania.\n \n⁄ The Bauhaus of Dessau exhibition in MaximilIan Park, Hamm ⁄ Westphalia, Germany.\nLa qualità difficilmente si riconosce a \nprima vista. Mvsevm vuole sottolineare \ncome tutti i mobili prodotti dall’azienda, \ncosì come questo catalogo, sono il \nrisultato di una attenta analisi sulle \nscelte tecniche, produttive e commerciali \nda seguire per l’ottimizzazione del \nprodotto. La qualità Mvsevm è garanzia \ndi ergonomia, comodità e funzionalità \ncon una particolare attenzione \nall’assorbimento della seduta, alla \ncura dello schienale e all’imbottitura \ndei cuscini all’altezza reni. Imbottiture \nrealizzate in piuma d’oca lavata, \nsterilizzata e garantita, in poliuretano \nespanso schiumato a freddo e in dacron.\n \nRivestimenti tutti di prima qualità: \ntessuti in fibre naturali o pelli. Cromature \ndi grande durata con trattamento \nanticorrosione e ancoraggio. Le saldature \nvengono testate con sistemi innovativi. \nEssenze come faggio, ciliegio, betulla e \nacero provengono da apposite coltivazioni \nnel totale rispetto della natura. I legni sono \ncontrollati e trattati successivamente \ncon vernici atossiche e antingiallenti per \nmantenere inalterati colore e venature.\n \nLe materie prime utilizzate per \nle strutture, acciaio, ferro e legno sono \ncertificate e sottoposte ad ulteriori prove \ne trattamenti all’interno dell’azienda. \nTutto questo è qualità. \n \nMvsevm ha ottenuto la certificazione \n“100% Made in Italy” ed è stata iscritta \nal Nr. 456 del registro nazionale dei \nproduttori italiani. Il marchio “100% Made \nin Italy” certifica che: la fabbricazione \nè interamente italiana; i semilavorati \nsono prodotti esclusivamente in Italia; \nsi utilizzano solo materie prime e \ncomponenti italiani di qualità e di prima \nscelta; la lavorazione è quella tradizionale \ntipica italiana;i prodotti sono conformi \nalle norme sulla sicurezza e sull’igiene.\n \nI segni distintivi che verranno applicati \nai prodotti (cartellini, adesivi ed etichette) \nconsentiranno al consumatore finale di \navere garanzia della vera origine italiana \ndel prodotto. L’ologramma ed il sistema \ndi rintracciabilità serviranno ad evitare la \ncontraffazione dei marchi e dei prodotti.\nPhilosophy: Quality by MVSEVM\nThe quality is not immediately apparent. \nMvsevm wishes to highlight the fact that \nall the furniture that produces, as for \nthis catalog, are the results of a detailed \nanalysis of the technical production \nand commercial sides to be followed \nin order to guarantee the best possible \nproduct. Mvsevm quality is a guarantee of \ncomfort and functionality with particular \nattention given to the seat contour, the \ncare taken in the design of the back and \nthe padding of the lower back cushions. \nPadding realised in washed, sterilized and \nguaranteed goose down, in cold shaped \npolyurethane foam and dacron. \n \nAll covers are of top quality using \nnatural fibres or leathers. High resistance \nchrome–plating with an anti–corrosion \nand fixing treatment. All weldings are \ntested using innovative systems. Wood \nused such as beech, cherry, birch and \nmaple, comes from special plantations in \ntotal respect of nature. Wood is checked \nand subsequently treated with anti–toxic \nand anti–yellowing varnishesin order to \npreserve the original colour and veining.\n \nRaw materials used for the frames, \nsuch as steel, iron and wood are \ncertified and subjected to further tests \nand treatments within the company. \nThis is the quality.\n \nMvsevm has obtained the “100% \nMade in Italy” certificate registered at \nNo. 456 of the national register of Italian \nproducers. The “100% Made in Italy” \nbrand certifies that: the production is \nentirely Italian; the semi–manufactured \nproducts are produced exclusively in \nItaly; only high–quality prime Italian raw \nmaterials and components are used; the \nproduction methods used are typically \ntraditional Italian ones; products are made \nin conformity with safety and hygienic \nrules.\n \nThe distinctive marks that will be \napplied to the products (tags, adhesives \nand labels) will allow the end–user to \nhave a guarantee of the genuine Italian \norigin of the product. The hologram and \nthe traceability system will serve to avoid \ncounterfeiting of brands and products.\nMvsevm\nAnthology\nPhilosophy\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.4.png","7\n6\nProject: Villa Tugendhat for Greta and Fritz Tugendhat\nBrno, Czech Republic\nArchitect: Ludwig Mies Van Der Rohe\nC. Art. 334 (↗ Pag. 138), Art. 365 (↗ Pag. 137) designed by Ludwig Mies Van Der Rohe.\nMvsevm\nAnthology\nProjects\nPROJECTS: Villas, Hotels, Offices, \nMuseums, Gallery, Exhibition \nand Special Projects by MVSEVM\nMvsevm\nAnthology\nProjects\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.5.png","8\nF. \nArt. 334, Art. 336 (↗ Pag. 138), Art. 365 (↗ Pag. 137) designed by Ludwig Mies Van Der Rohe.\nVilla Tugendhat\nProject ↦ Villa, Museum\nLa “Villa Tugendhat” di Brno, Repubblica \nCeca, fu progettata da Ludwig Mies\nVan Der Rohe nel 1929. Nel 1995 la \nVilla è stata riconosciuta monumento\nnazionale e utilizzata come museo.\nLa collezione Mvsevm è stata selezionata \ndal governo Ceco per arredare la casa \ncon le riproduzioni dei pezzi originali \ned è stata scelta per la cura e la \nprofessionalità dedicate da sempre alla \nriproduzione dei capolavori del design \nindustriale. \nThe “Tugendhat Villa” in Brno, Czech republic, was designed by Ludwig Mies Van Der \nRohe in 1929. In 1995 the Villa was made a national monument and used as a museum. \nThe Mvsevm collection was chosen by the Czech Republic governement to furnish \nit with reproductions of the original furniture, thanks to the care and professionalism \nthat it has always shown in the reproduction of masterpieces of industrial design. \nMvsevm\nAnthology\nProjects\nMvsevm\nAnthology\nProjects\nLudwig Mies Van Der Rohe – ita “L’architettura è la volontà dell’epoca\ntradotta nello spazio.” eng “Architecture is the will of an epoch translated\ninto space.” \nD.  Vista esterna della villa. Nel 2002 la villa è stata iscritta nel prestigioso elenco\n \ndei Patrimoni dell’umanità dell’UNESCO. ⁄ External view of the villa. In 2002 the villa\n \nwas registered in the prestigious list of UNESCO World Heritage Sites.\nE. \nArt. 327 (↗ Pag. 156) designed by Ludwig Mies Van Der Rohe.\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.6.png","11\nMvsevm\nAnthology\nProjects\nH. Art. 611, Art. 612 (↗ Pag. 129–130) designed by Jean–Michel Frank, Art. 769 ⁄ 3 (↗ Pag. 085) designed by Eero Saarinen.\nHotel “Le Meridien Lingotto” di Torino \nristrutturato su disegno dell’architetto  \nRenzo Piano nei locali della ex sede Fiat. \nCompletamente arredato con la collezione \nMvsevm nel settembre 1995 sia nelle \ncamere che negli spazi pubblici come\nla hall, il bar, il ristorante.\n“Le Meridien Lingotto” hotel of Turin restored according to the design of the architect \nRenzo Piano in the ex Fiat premises. Completely furnished with the Mvsevm \ncollection in September 1995 including bedrooms and guest areas such as the hall, \nbar and restaurant.\nProject: Le Meridien Lingotto\nTurin, Italy\nArchitect: Renzo Piano\nMvsevm\nAnthology\nProjects\nVilla Tugendhat\nProject ↦ Villa, Museum\nG. Art. 355 (↗ Pag. 144) designed by Ludwig Mies Van Der Rohe.\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.7.png","13\n12\nMvsevm\nAnthology\nProjects\nLa casa nera, “Zwart Huis” è stata \ncostruita nel 1924 dall’architetto Huib \nHoste, per il Dottor De Beir. La casa \nè molto rivoluzionaria per i suoi tempi \ned è un bell’esempio del modernismo \nin Belgio. L’architetto Huib Hoste era stato \nispirato dal gruppo olandese “De Stijl”. \nLa casa nera “Zwart Huis” è stata \nclassificata come monumento protetto \nnel gennaio 2000. Dall’aprile del 2001, \nla casa è una galleria d’arte \ncontemporanea e del mobile moderno, \ncompletamente arredata con pezzi \noriginali della collezione Mvsevm.\nK. \nArt. 337 (↗ Pag. 146) designed by Ludwig Mies Van Der Rohe.\nJ. \nArt. 705 (↗ Pag. 104) designed by Harry Bertoia, Art. 799 (↗ Pag. 112)\n \ndesigned by Isamu Noguchi.\nMvsevm\nAnthology\nProjects\nThe black house, “Zwart Huis” was built in 1924 by the architect Huib Hoste for\nDoctor de Beir. This house was very revolutionary for the time and it is a great example \nof modernism in Belgium. The architect Huib Hoste was inspired by the dutch \nmovement “De Stijl”. The black house, “Zwart Huis” has been classified as sheltered \nmonument in year 2000. Since april 2001 the house is a gallery for contemporary\nart and modern furniture, completely furnished with original Mvsevm products.\nProject: Zwart Huis (The Black House)\nKnokke, Belgium\nArchitect: Huib Hoste\nI. \nArt. 631 (↗ Pag. 124) designed by Josef Hoffmann, Art. 469 (↗ Pag. 072) designed by Eileen Gray.\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.8.png","15\n14\nMvsevm\nAnthology\nProjects\nM. Art. 505 (↗ Pag. 027) designed by Alvar Aalto.\nMvsevm\nAnthology\nProjects\nProject: Caja General de Ahorros\nGranada, Spain\nArchitect: Alberto Campo Baeza\nL. \nArt. 505 (↗ Pag. 027) designed by Alvar Aalto.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.9.png","16\nN. L’edificio Bauhaus a Dessau, in Germania. ⁄ The Bauhaus Building in Dessau, Germany.\nMvsevm\nAnthology\nBauhaus 1919–2019\nNel 1919 – esattamente cento anni fa\n– fu fondato a Weimar il Bauhaus, un \nistituto superiore d’istruzione artistica \nche aveva l’obiettivo di superare la \ncontrapposizione tra arte e artigianato, \nintegrando l’espressione artistica con \nl’industria. Tra gli insegnanti, oltre al \nfondatore della scuola Walter Gropius, \nci furono gli artisti Paul Klee, Vasilij \nKandinskij e László Moholy–Nagy, \nl’architetto Ludwig Mies van der Rohe \ne molti altri. Osteggiata dagli ambienti \npiù conservatori, nel 1926 la scuola si \ntrasferì a Dessau, in una sede disegnata \ndallo stesso Gropius abbandonata pochi \nanni più tardi. La chiusura definitiva non \nfermò le idee del Bauhaus, che si diffusero \nin tutto il mondo grazie all’attività degli \nex insegnanti emigrati negli Stati Uniti, \ncambiando per sempre gli ambiti\ndel design e della progettazione.\nO. Joost Schmidt, manifesto per la mostra Bauhaus del 1923 a Weimar.\n \n⁄ Joost Schmidt, poster for the 1923 Bauhaus Exhibition in Weimar.\nita “Che cos’è il Bauhaus? Il Bauhaus vuole essere una risposta alla domanda: \nin che modo può essere formato l’artista per prendere il proprio posto nell’era \ndella macchina?” eng “What is the Bauhaus? The Bauhaus is an answer to the \nquestion: how can the artist be trained to take his place in the machine age.”\n100 YEARS: Staatlitches \nBauhaus, Weimer (1919–1925) \nDessau (1925–1932)\nMvsevm\nAnthology\nBauhaus 1919–2019\nThe Bauhaus, an artistic institution of higher education whose aim was to overcome \nthe contrast between art and craft and integrate artistic expression with industry,\nwas founded in Weimar exactly one hundred years ago in 1919. Amongst the teachers \nwas the school's founder, Walter Gropius, as well as the artists Paul Klee, Vasilij \nKandinskij and László Moholy–Nagy, the architect Ludwig Mies van der Rohe and \nmany others. Opposed by the most conservative environments, the school moved to \nDessau in 1926, to a site also designed by Gropius, which was abandoned a few years \nlater. The definitive closure did not stop the ideas of the Bauhaus, which spread all \nover the world thanks to the activity of former teachers who emigrated to the\nUnited States, forever changing the fields of design. \nBauhaus 1919–2019\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.10.png","18\n WHAT is the Bauhaus?\nThe Bauhaus is an answer\nto the question: how can the \nartist be trained to take his \nplace in the machine age.\n HOW did the\n \nBauhaus idea being?\nAs a school which became the \nmost iportant and influential \ninstitution of its kindbin \nmodern times.\n WHERE?\nIn Germany, first at Weimar, \nthen at Dessau.\n WHEN?\nFrom 1919 until closed by\nthe National Socialists in 1933.\n WHAT did they teach?\nArchitecture, housing,\npainting, sculpture, \nphotography, cinema, theatre, \nballet, industrial design, \npottery, metal work, textiles, \nadvertising, typography\nand, above all, a modern \nphilosophy of design.\n WHY is the Bauhaus\n \nso important?\n① Because it courageously\n \naccepdet the machine \n \nas an instrument worthy\n \nof the artist.\n② Because it faced the\n \nproblem of good design\n \nfor mass production.\n③ Because it brought\n \ntogether on its faculty\n \nmore artist of\n \ndistinguished talent than\n \nhas any other art school\n \nof our time.\n④ Because it bridged the\n \ngap between the artist\n \nand the industrial system.\n⑥ Because it differentiated\n \nbetween what can \n \nbe taught (technique) \n \nand what cannot (creative\n \ninvention).\n⑦ Because its building at\n \nDessau was architecturally\n \nthe most important\n \nstructure of the 1920’s.\n⑧ Because after much trial\n \nand error it developed a new\n \nand modern kind of beauty.\n⑨ And, finally, because\n \nits influence has spread\n \nthroughout the world, \n \nand is especially strong\n \ntoday in England and the\n \nUnited States.\n CHE COS’È il Bauhaus?\nIl Bauhaus vuole essere\nuna risposta alla domanda: \nin che modo può essere \nformato l’artista per prendere\nil proprio posto nell’era\ndella macchina?\n COM’È nata l’idea\n \ndel Bauhaus?\nNato come istituto scolastico, \nil Bauhaus diventò l’istituzione \npiù autorevole ed influente\nnel suo genere in epoca \nmoderna.\n DOVE?\nIn Germania, prima a Weimar,\nin un secondo momento \na Dessau.\n QUANDO?\nDal 1919 fino al 1933, anno \nin cui la scuola venne chiusa \ndai nazisti.\n QUALI erano \n \nle materie di studio?\nArchitettura, edilizia \nresidenziale, pittura, scultura, \nfotografia, cinema, teatro, \ndanza, design industriale, \nceramica, lavorazione dei \nmetalli, tessitura, pubblicità, \ntipografia e, soprattutto, una \nmoderna filosofia di design.\n PERCHÉ il ruolo del\n \nBauhaus fu così rilevante?\n① Accettò con audacia la\n \nmacchina quale strumento\n \ndegno dell’artista.\n② Si confrontò con i problemi\n \nconnessi alla realizzazione\n \ndi un buon design per \n \nla produzione di massa.\n③ Attirò artisti di grande\n \ntalento, più di quanto \n \nriesca a fare oggi qualsiasi\n \naltra scuola d’arte.\n④ Creò un ponte tra\n \nl’universo dell’artista\n \ne quello dell’industria.\n⑥ Fece la distinzione tra ciò\n \nche rientra tra le materie \n \ndi insegnamento, la tecnica,\n \ne ciò che non può essere\n \ninsegnato, ovvero l’ingegno\n \ncreativo.\n⑦ L’edificio sede del Bauhaus\n \na Dessau era, negli anni\n \nVenti, la struttura di\n \nmaggior pregio dal punto\n \ndi vista architettonico.\n⑧ Alla fine di un lungo\n \npercorso di esperimenti\n \ne difficoltà, riuscì ad\n \nelaborare un nuovo\n \nconcetto di bellezza \n \nin senso moderno.\n⑨ E infine, il suo pensiero\n \nsi diffuse in tutto il\n \nmondo, arrivando ad\n \nesercitare un’influenza\n \noggi particolarmente\n \nforte in Inghilterra e negli\n \nStati Uniti.\n⑤ Because it broke down the hierarchy\n \nwhich had divided the “fine” from\n \nteh “applied” arts.\n⑤ Annullò la tradizionale distinzione\n \ngerarchica tra belle arti e arti\n \napplicate.\n WHO were its teachers?\nWaltwr Gropius, its founder and first \ndirector, Kandinsky, Klee, Feininger, \nSchlemmer, Itten, Moholy–Nagy, \nAlbers, Bayer, Breuer, and other.\n CHI insegnava al Bauhaus?\nWalter Gropius, fondatore e primo \ndirettore, Kandinsky, Klee, Feininger, \nSchlemmer, Itten, Moholy–Nagy, \nAlbers, Bayer, Breuer, ed altri ancora.\nExtract: Bauhaus 1919–1928 edited by Herbert Bayer, Ise Gropius, Walter Gropius (Chairman of the Depart ment of Architecture, Harvard University).\nMvsevm\nAnthology\nBauhaus 1919–2019\n½ year\n3 year\n \nP\nr\ne\nl\ni\nm\ni\nn\na\nr\ny\n \nc\no\nu\nr\ns\ne\n \nP\nr\ne\nl\ni\nm\ni\nn\na\nr\ny\n \nc\no\nu\nr\ns\ne\nEl\ne\nme\nnt\na\nry\n T\nh\neo\nry\n o\nf \nfr\no\nm \nE\nxp\ner\nim\ne\nnt\ns\nwi\nth\n M\nat\ner\nia\nls\n in\n t\nh\ne P\nre\nli\nmi\nna\nry\n \nWo\nr\nks\nho\np\nBuilding\npractical building \nexperience – building \nexperiments\nDesign – Building\nand Engineering\nSciences\n \nS\nt\nu\nd\ny \nof\n \nN\nat\nu\nre\n \nA\nn\nal\ny\nsi\ns \no\nf \nM\na\nt\ner\nia\nl\ns\n \nT\nh\ne\no\nry\n \nof\n \nSp\na\nc\ne,\n C\nol\no\nr,\n \nTe\nc\nh\nni\nc\nal\n C\no\nn\ns\ntr\nu\nc\nti\no\nn\n \nIn\ns\ntr\nu\nct\ni\no\nn \nin\n \nC\no\nm\np\no\nsi\nti\no\nn\n \na\nn\nd\n \nR\ne\np\nre\ns\ne\nn\nt\nat\ni\no\nn\n \nM\na\nte\nri\nal\ns \na\nn\nd \nT\no\nol\ns\n \nW\no\no\nd\n \nM\ne\nt\na\nl\n \nT\ne\nx\nt\ni\nl\ne\ns\n \nC\no\nl\no\nr\n \nG\nl\na\ns\ns\n \nC\nl\na\ny\n \nS\nt\no\nn\ne\nMvsevm\nAnthology\nBauhaus 1919–2019\n100 YEARS: Staatlitches Bauhaus, Weimer (1919–2019)\nP. \nIdeato da Walter Gropius, il termine Bauhaus richiamava la parola medievale\n \nBauhütte, indicante la loggia dei muratori. ⁄ Conceived by Walter Gropius,\n \nthe term Bauhaus recalled the medieval word Bauhütte, indicating the loggia\n \nof the bricklayers.\nR.\n Il diagramma della struttura didattica del Bauhaus concepito\nda Walter Gropius nel 1922. ⁄ The diagram of the teaching structure\nof the Bauhaus conceived by Walter Gropius in 1922.\nQ. Herbert Bayer, cartolina stampata per la Manifestazione del 1923.\n \n ⁄ Herbert Bayer, postcard printed for the 1923 Exhibition.\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.11.png","21\nMvsevm\nDesigners \nAuthors Index\nDESIGNERS: The Classics of Modern Furniture from 30 iconic designers\n \nArt. 423\nL ⁄ W 240 H 87 P ⁄ D 90\nW 94,5” H 34,2” D 35,4”\n \nArt. 400\nL ⁄ W 152 H 172\nW 59,8” H 67,7”\n \nArt. 421\nL ⁄ W 100 H 75 P ⁄ D 81\nW 39,4” H 29,5” D 31,9”\n \nArt. 419\nL ⁄ W 54,5 H 76,5 P ⁄ D 64\nW 21,5” H 30,1” D 25,2”\n \nArt. 439\nL ⁄ W 46 H 66,5 P ⁄ D 56,5\nW 18,1” H 26,2” D 22,2”\n \nArt. 409\nØ 51 H 62–100\nØ 20” H 24,4”–39,4”\n \nArt. 845\nL ⁄ W 52,5 H 75,5 P ⁄ D 47\nW 20,7” H 29,7” D 18,5”\n \nArt. 804\nL ⁄ W 46 H 104,5 P ⁄ D 39,5\nW 18,1” H 41,1” D 15,6”\n \nArt. 825\nL ⁄ W 94 H 119 P ⁄ D 41\nW 37” H 46,9” D 16,1”\n \nArt. 809\nL ⁄ W 55–177 H 75 P ⁄ D 125\nW 22,4”–69,7” H 29,5” D 49,2”\n \nArt. 819\nL ⁄ W 100 H 76 P ⁄ D 100\nW 39,4” H 29,9” D 39,4”\n \nArt. 860\nØ 31 H 201\nØ 12,2” H 79,1”\n \nArt. 855\nL ⁄ W 54 H 137 P ⁄ D 48\nW 21,3” H 53,9” D 18,9”\n \nArt. 834\nL ⁄ W 46 H 104,5 P ⁄ D 39,5\nW 18,1” H 41,1” D 15,6”\n \nArt. 864\nL ⁄ W 47 H 150 P ⁄ D 45\nW 18,5” H 59” D 17,7”\n \nArt. 814\nL ⁄ W 41 H 140 P ⁄ D 36\nW 16,1” H 55,1” D 14,2”\n \nArt. 871\nL ⁄ W 83,5 H 84,5 P ⁄ D 65\nW 32,9” H 33,3” D 25,6”\n \nArt. 844\nL ⁄ W 49 H 75,5 P ⁄ D 45\nW 19,3” H 29,7” D 17,7”\n \nArt. 739\nL ⁄ W 41 H 26 P ⁄ D 35\nW 16,1” H 10,2” D 13,8”\n \nArt. 759\nL ⁄ W 225 H 26 P ⁄ D 73,5\nW 88,6” H 10,2” D 28,9”\n \nArt. 734\nL ⁄ W 56 H 68 P ⁄ D 66\nW 22” H 26,8” D 26”\n \nArt. 749\nØ 86 H 40\nØ 33,9” H 15,7”\n \nArt. 700\nL ⁄ W 154 H 172 P ⁄ D 7\nW 60,6” H 67,7” D 2,8”\n \nArt. 854\nL ⁄ W 49 H 137 P ⁄ D 46\nW 19,3” H 53,9” D 18,1”\n \nArt. 505\nL ⁄ W 60 H 64 P ⁄ D 80\nW 23,6” H 25,2” D 31,5”\n \nArt. 519\nL ⁄ W 50 H 56,5 P ⁄ D 90\nW 19,7” H 22,2” D 35,4”\n \nArt. 524\nL ⁄ W 37,5 H 76 P ⁄ D 45\nW 14,8” H 29,9” D 17,7”\n \nArt. 536\nØ 38 H 44\nØ 15” H 17,3”\n \nArt. 717\nL ⁄ W 86 H 86 P ⁄ D 80\nW 33,8” H 33,8” D 31,5”\n \nArt. 716\nL ⁄ W 66 H 44 P ⁄ D 53\nW 26” H 17,3” D 20,9”\nE. Gray\nC. R. Mackintosh\nC. R. Mackintosh\nC. R. Mackintosh\nPatterned after the designs of C. Eames\nA. Aalto\nPatterned after the designs of C. Eames\nMvsevm\nProduct Index\nPag. 027\nPag. 028\nPag. 029\nPag. 029\nPag. 031\nPag. 031\nPag. 045\nPag. 046\nPag. 047\nPag. 048\nPag. 049\nPag. 050\nPag. 036\nPag. 037\nPag. 040\nPag. 041\nPag. 042\nPag. 045\nPag. 050\nPag. 051\nPag. 052\nPag. 054\nPag. 056\nPag. 057\nPag. 059\nPag. 060\nPag. 062\nPag. 063\nPag. 063\nPag. 064\n026 A. Aalto, 225 B. Rainaldi,\n030 Patterned after the designs\nof C. Eames, 221 C. J. Jucker,\n044 C. R. Mackintosh, 216 D. Desky, \n058–218 E. Gray, 074 E. Saarinen,\n088 F. J. Kiesler, 090 G. Nelson,\n219 G. Pap, 098 G. Summers,\n100 G. T. Rietveld, 102 H. Bertoia,\n110 I. Noguchi, 118–220 J. Hoffmann,\n128 J. M. Frank, 136 L. Mies Van Der \nRohe, 160 M. Breuer, 217 M. Fortuny \ny Madrazo, 178 M. Old, 182 M. Stam,\n184 O. Blümel, 186 O. P. Bernard,\n188 P. Chareau, 194 R. Herbst, \n202 R. Mallet–Stevens, \n204 T. Mizutani, 222 W. Wagenfeld\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.12.png","22\n23\nMvsevm\nProduct Index\nMvsevm\nProduct Index\n \n \nArt. 799\nL ⁄ W 130 H 41 P ⁄ D 92\nW 51,2” H 16,1” D 36,2”\n \nArt. 729\nØ 80–90–120 H 72\nØ 31,5”–35,4”–47,2” H 28,3”\n \nArt. 722\nL ⁄ W 245 H 74 P ⁄ D 119\nW 96,4” H 29,1” D 46,8”\n \nArt. 726\nL ⁄ W 135 H 48,5 P ⁄ D 81\nW 53,1” H 19” D 31,9”\n \nArt. 621\nL ⁄ W 92 H 97 P ⁄ D 73\nW 36,2” H 38,2” D 28,7”\n \nArt. 622\nL ⁄ W 158 H 97 P ⁄ D 73\nW 62,2” H 38,2” D 28,7”\n \nArt. 565\nL ⁄ W 60 H 70 P ⁄ D 91\nW 23,6” H 27,5” D 35,8”\n \nArt. 514\nL ⁄ W 37 H 74 P ⁄ D 43\nW 14,6” H 29,1” D 16,9”\n \nArt. 704\nL ⁄ W 54 H 78 P ⁄ D 52\nW 21,2” H 30,7” D 20,5”\n \nArt. 705\nL ⁄ W 82 H 75 P ⁄ D 72\nW 32,3” H 29,5” D 28,3”\n \nArt. 706\nL ⁄ W 54 H 96–106 P ⁄ D 56,5\nW 21,2” H 37,8”–41,7” D 22,2”\n \nArt. 709\nL ⁄ W 128,5 H 40 P ⁄ D 92,5\nW 50,6” H 15,7” D 36,4”\nArt. 769 ⁄ 1 ⁄ 2 ⁄ 11\n 1 \nØ 91 H 74\n  \nØ 35,8” H 29,1”\n 2 \nØ 120 H 74\n  \nØ 47,2” H 29,1”\n  11 \nØ 80 H 74\n  \nØ 31,5” H 29,1”\nArt. 769 ⁄ A ⁄ 30 ⁄ XL160\n A \nØ 107 H 74\n  \nØ 42,1” H 29,1”\n 30 \nØ 130 H 74\n  \nØ 51,2” H 29,1”\n 160 Ø 160 H 74\n  \nØ 63” H 29,1”\n Art. 769 ⁄ S\nL ⁄ W 51 H 83 P ⁄ D 52\nW 20,1” H 32,7” D 20,5”\n Art. 769 ⁄ P\nØ 42 H 45\nØ 16,5” H 17,7”\nArt. 769 ⁄ 3 ⁄ 4\n 3 \nØ 51 H 52\n  \nØ 20” H 20,5”\n 4 \nØ 41 H 52\n  \nØ 16,1” H 20,5”\nArt. 769 ⁄ 9\n 9 \nL ⁄ W 105 H 40 P ⁄ D 70\n  \nW 41,3” H 15,7” D 27,5”\nArt. 769 ⁄ 8 ⁄ 13\n 8 \nØ 91 H 40\n  \nØ 35,8” H 15,7”\n 13 \nØ 51 H 40\n  \nØ 20” H 15,7”\n \nArt. 789\nL ⁄ W 90–64 H 24,5\nP ⁄ D 64–41\nW 35,4”–25,2” H 9,6”\nD 25,2”–16,1”\n \nArt. 484\nL ⁄ W 158 H 96 P ⁄ D 85\nW 62,2” H 37,8” D 33,5”\n \nArt. 777\nL ⁄ W 180 H 90 P ⁄ D 210\nW 70,9” H 35,4” D 82,7”\n \nArt. 766\nL ⁄ W 120 H 35 P ⁄ D 47\nW 47,2” H 13,8” D 18,5”\n \nArt. 776\nL ⁄ W 180 H 35 P ⁄ D 47\nW 70,9” H 13,8” D 18,5”\n \nArt. 407\nL ⁄ W 56,5 H 77,5 P ⁄ D 107\nW 22,2” H 30,5” D 42,1”\n \nArt. 427\nL ⁄ W 190 H 62 P ⁄ D 89\nW 74,8” H 24,4” D 35”\n \nArt. 455\nL ⁄ W 46 H 81,5 P ⁄ D 49\nW 18,1” H 32” D 19,3”\n \nArt. 469\nL ⁄ W 64–128 H 72 P ⁄ D 70\nW 25,2”–50,4” H 28,3” D 27,5”\nArt. 769 ⁄ 5 ⁄ 6\n 5 \nL ⁄ W 198 H 74 P ⁄ D 121\n  \nW 78” H 29,1” D 47,6”\n 6 \nL ⁄ W 244 H 74 P ⁄ D 137\n  \nW 96” H 29,1” D 53,9”\nArt. 769 ⁄ 7 ⁄ 12\n 7 \nL ⁄ W 235 H 74 P ⁄ D 122\n  \nW 92,5” H 29,1” D 48”\n 12 \nL ⁄ W 180 H 74 P ⁄ D 105\n  \nW 70,9” H 29,1” D 41,3”\nI. Noguchi\nJ. Hoffmann\nG. Summers\nG. T. Rietveld\nH. Bertoia\nI. Noguchi\nE. Saarinen\nE. Saarinen\nF. J. Kiesler\nG. Nelson\nE. Gray\nE. Saarinen\nPag. 065\nPag. 068\nPag. 069\nPag. 072\nPag. 075\nPag. 075\nPag. 087\nPag. 089\nPag. 091\nPag. 094\nPag. 096\nPag. 097\nPag. 078\nPag. 078, 080\nPag. 082\nPag. 084\nPag. 085\nPag. 086\nPag. 099\nPag. 101\nPag. 103\nPag. 104\nPag. 108\nPag. 111\nPag. 112\nPag. 114\nPag. 116\nPag. 116\nPag. 119\nPag. 120\n \nArt. 623\nL ⁄ W 200 H 97 P ⁄ D 73\nW 78,7” H 38,2” D 28,7”\n \nArt. 639\nL ⁄ W 54 H 56–61 \n–66–71 P ⁄ D 42,5\nW 21,3” H 22,4”–24,4”\n–26,4”–28,4” D 16,7”\n \nArt. 631\nL ⁄ W 93 H 72 P ⁄ D 75\nW 36,6” H 28,3” D 29,5”\n \nArt. 632\nL ⁄ W 162 H 72 P ⁄ D 75\nW 63,8” H 28,3” D 29,5”\n \nArt. 633\nL ⁄ W 224 H 72 P ⁄ D 75\nW 88,2” H 28,3” D 29,5”\n \nArt. 611\nL ⁄ W 90 H 86 P ⁄ D 89\nW 35,4” H 33,8” D 35”\nJ. Hoffmann\nJ. M. Frank\n \nArt. 612\nL ⁄ W 150 H 86 P ⁄ D 89\nW 59” H 33,8” D 35”\n \nArt. 613\nL ⁄ W 214 H 86 P ⁄ D 89\nW 84,2” H 33,8” D 35”\n \nArt. 601\nL ⁄ W 83 H 94 P ⁄ D 80\nW 32,7” H 37” D 31,5”\n \nArt. 602\nL ⁄ W 140 H 94 P ⁄ D 80\nW 55,1” H 37” D 31,5”\n \nArt. 619\nL ⁄ W 90 H 75 P ⁄ D 90\nW 35,4” H 29,5” D 35,4”\n \nArt. 365\nL ⁄ W 77 H 88 P ⁄ D 78\nW 30,3” H 34,6” D 30,7”\n \nArt. 334\nL ⁄ W 75 H 75 P ⁄ D 77\nW 29,5” H 29,5” D 30,3”\n \nArt. 336\nL ⁄ W 54 H 37 P ⁄ D 59\nW 21,3” H 14,6” D 23,2”\n \nArt. 345\nL ⁄ W 58 H 76 P ⁄ D 57\nW 22,8” H 29,9” D 22,4”\n \nArt. 355\nL ⁄ W 55 H 79 P ⁄ D 64\nW 21,6” H 31,1” D 25,2”\n \nArt. 337\nL ⁄ W 195,5 H 62 P ⁄ D 97\nW 77” H 24,4” D 38,2”\n \nArt. 314\nL ⁄ W 47 H 84 P ⁄ D 69\nW 18,5” H 33,1” D 27,2”\n \nArt. 315\nL ⁄ W 53,5 H 84 P ⁄ D 82,5\nW 21” H 33,1” D 32,5”\n \nArt. 304\nL ⁄ W 47 H 84 P ⁄ D 69\nW 18,5” H 33,1” D 27,2”\n \nArt. 305\nL ⁄ W 53,5 H 84 P ⁄ D 82,5\nW 21” H 33,1” D 32,5”\n \nArt. 325\nL ⁄ W 60 H 84 P ⁄ D 92\nW 23,6” H 33” D 36,2”\n \nArt. 324\nL ⁄ W 60 H 84 P ⁄ D 88\nW 23,6” H 33” D 34,6”\n \nArt. 316\nL ⁄ W 60 H 44 P ⁄ D 61,5 \nW 23,6” H 17,3” D 24,2”\n \nArt. 317\nL ⁄ W 60 H 80 P ⁄ D 178\nW 23,6” H 31,5” D 70”\n \nArt. 327\nL ⁄ W 60 H 95 P ⁄ D 120\nW 23,6” H 37,4” D 47,2”\n \nArt. 309\nL ⁄ W 102 H 46 P ⁄ D 102 \nW 40,2” H 18,1” D 40,2”\n \nArt. 319\nØ 71,5 H 52,5\nØ 28,1” H 20,7”\n \nArt. 135\nL ⁄ W 79 H 72 P ⁄ D 70\nW 31,1” H 28,3” D 27,6”\n \nArt. 109 ⁄ 1 ⁄ 2\n 1 \nL ⁄ W 55 H 45 P ⁄ D 48\n  \nW 21,6” H 17,7” D 18,9”\n 2 \nL ⁄ W 136 H 34 P ⁄ D 48\n  \nW 53,5” H 13,4” D 18,9”\nJ. M. Frank\nL. Mies Van der Rohe\nL. Mies Van der Rohe\nL. Mies Van der Rohe\nL. Mies Van der Rohe\nM. Breuer\nPag. 121\nPag. 122\nPag. 124\nPag. 125\nPag. 126\nPag. 129\nPag. 138\nPag. 138\nPag. 142\nPag. 144\nPag. 146\nPag. 148\nPag. 130\nPag. 131\nPag. 132\nPag. 133\nPag. 134\nPag. 137\nPag. 149\nPag. 150\nPag. 150\nPag. 152\nPag. 154\nPag. 154\nPag. 155\nPag. 156\nPag. 158\nPag. 159\nPag. 161\nPag. 166\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.13.png","24\n25\nMvsevm\nProduct Index\nMvsevm\nProduct Index\n \n \nArt. 124\nL ⁄ W 47 H 77,5 P ⁄ D 56\nW 18,5” H 30,5” D 22”\n \nArt. 125\nL ⁄ W 60 H 77,5 P ⁄ D 56\nW 23,6” H 30,5” D 22”\n \nArt. 110 ⁄ 4\nL ⁄ W 165 H 142 P ⁄ D 35\nW 65” H 55,9” D 13,8”\n \nArt. 110 ⁄ 5\nL ⁄ W 165 H 177 P ⁄ D 35\nW 65” H 69,7” D 13,8”\n \nArt. 499\nL ⁄ W 210 H 77 P ⁄ D 80\nW 82,7” H 30,3” D 31,5”\n \nArt. 144\nL ⁄ W 47 H 86 P ⁄ D 62\nW 18,5” H 33,9” D 24,4”\n \nArt. 165\nL ⁄ W 55 H 80 P ⁄ D 56\nW 21,7” H 31,5” D 22”\n \nArt. 480\nØ 50 H 180\nØ 19,7” H 70,9”\n \nArt. 185\nL ⁄ W 53,5 H 75,5 P ⁄ D 61\nW 21” H 29,7” D 24”\n \nArt. 671\nL ⁄ W 82 H 123 P ⁄ D 77,5\nW 32,3” H 48,2” D 30,5”\n \nArt. 662\nL ⁄ W 194 H 71 P ⁄ D 82\nW 76,4” H 27,9” D 32,2”\n \nArt. 699\nØ 65 H 66\nØ 25,6” H 26”\n \nArt. 669\nØ 68,5 H 62,5\nØ 27” H 24,6”\n \nArt. 679\nØ 64 H 59,5\nØ 25,2” H 23,4”\n \nArt. 425\nL ⁄ W 64 H 87 P ⁄ D 55\nW 25,2” H 34,3” D 21,7”\n \nArt. 424\nL ⁄ W 53 H 95,5 P ⁄ D 48\nW 20,9” H 37,6” D 18,9”\n \nArt. 414\nL ⁄ W 42 H 81 P ⁄ D 50\nW 16,5” H 31,9” D 19,7”\n \nArt. 445\nL ⁄ W 71 H 75 P ⁄ D 56\nW 28” H 29,5” D 22”\n \nArt. 417\nL ⁄ W 55 H 61–110 P ⁄ D 90–120\nW 21,7” H 24”–43,3”\nD 35,4”–47,2”\n \nArt. 404\nL ⁄ W 45 H 82 P ⁄ D 52\nW 17,7” H 32,3” D 20,5”\nArt. 459\nØ 120 H 70,5\nØ 47,2” H 27,7”\n \nArt. 710\nL ⁄ W 51 H 180 P ⁄ D 51\nW 20” H 70,9” D 20”\n \nArt. 190\nL ⁄ W 40 H 69,5 P ⁄ D 40\nW 15,7” H 27,4” D 15,7”\n \nArt. 681\nL ⁄ W 76 H 85 P ⁄ D 85\nW 29,9” H 33,5” D 33,5”\nM. Breuer\nM. Breuer\nM. Old\nM. Stam\nP. Chareau\nR. Herbst\nR. Herbst\nR. Mallet–Stevens\nT. Mizutani\nAnonymous\n \nArt. 137\nL ⁄ W 65,5 H 81 P ⁄ D 141\nW 25,8” H 31,9” D 55,5”\n \nArt. 149\nL ⁄ W 110 H 80 P ⁄ D 51\nW 43,3” H 31,5” D 20”\n \nArt. 104\nL ⁄ W 47 H 77,5 P ⁄ D 56\nW 18,5” H 30,5” D 22”\n \nArt. 105\nL ⁄ W 60 H 77,5 P ⁄ D 56\nW 23,6” H 30,5” D 22”\n \nArt. 114\nL ⁄ W 47 H 77,5 P ⁄ D 56\nW 18,5” H 30,5” D 22”\n \nArt. 115\nL ⁄ W 60 H 77,5 P ⁄ D 56\nW 23,6” H 30,5” D 22”\nM. Stam\nO. Blümel\nO. P. Bernard\nP. Chareau\nPag. 167\nPag. 170\nPag. 172\nPag. 172\nPag. 174\nPag. 174\nPag. 183\nPag. 185\nPag. 187\nPag. 189\nPag. 192\nPag. 193\nPag. 175\nPag. 175\nPag. 176\nPag. 177\nPag. 179\nPag. 183\nPag. 193\nPag. 193\nPag. 195\nPag. 196\nPag. 197\nPag. 198\nPag. 201\nPag. 203\nPag. 205\nPag. 207\nPag. 208\nPag. 209\n \nArt. 682\nL ⁄ W 136 H 85 P ⁄ D 85\nW 53,5” H 33,5” D 33,5”\n \nArt. 683\nL ⁄ W 196 H 85 P ⁄ D 85\nW 77,1” H 33,5” D 33,5”\n \nArt. 691\nL ⁄ W 98 H 80 P ⁄ D 86\nW 38,6” H 31,5” D 33,8”\n \nArt. 692\nL ⁄ W 164 H 80 P ⁄ D 86\nW 64,6” H 31,5” D 33,8”\n \nArt. 693\nL ⁄ W 229 H 80 P ⁄ D 86\nW 90,2” H 31,5” D 33,8”\nAnonymous\nPag. 210\nPag. 211\nPag. 212\nPag. 213\nPag. 214\nPoltrona, armchair\n \nArt. 9005\nDivani, sofas\n \nArt. 9002, 9003,\n \n \n9083, 9004\nPoltrona, armchair\n \nArt. 9241\nDivano, sofa\n \nArt. 9242\nPanche, benches\n \nArt. 9006, 9006A,\n \n \n9006B\nLetti, beds\n \nArt. 9007 ⁄ S ⁄ Q ⁄ K ⁄ E,\n \n \n9087 ⁄ S ⁄ Q ⁄ K ⁄ E,\n \n \n9017 ⁄ S ⁄ Q ⁄ K ⁄ E\nBruno Rainaldi\nPag. 228\nPag. 227, 229\nPag. 231\nPag. 230\nPag. 232, 233\nPag. 234, 235, 236, 237\n \n \nArt. 508\nØ 22 H 39\nØ 8,7” H 15,3”\n \nArt. 478\nØ 53\nØ 20,9”\n \nArt. 458\nØ 39 H 62\nØ 15,4” H 24,4”\n \nArt. 408\nØ 25 H 102\nØ 9,8” H 40,2”\n \nArt. 178\nØ 49 H 182\nØ 19,3” H 71,6”\n \nArt. 618\nØ 25 H 35\nØ 9,8” H 13,8”\n \nArt. 118\nØ 21 H 44\nØ 8,3” H 17,3”\n \nArt. 108\nØ 18 H 36\nØ 7” H 14,2”\n \nArt. 138\nØ 18 H 37\nØ 7” H 14,6”\n \nArt. 128\nØ 34 H 42\nØ 13,4” H 16,5”\n \nArt. 598\nØ 24 H 27\nØ 9,4” H 10,6”\nD. Desky\nM. Fortuny y Madrazo\nE. Gray\nG. Pap\nJ. Hoffmann\nC. J. Jucker\nW. Wagenfeld\nAnonymous\nPag. 216\nPag. 217\nPag. 217\nPag. 218\nPag. 219\nPag. 220\nPag. 221\nPag. 222\nPag. 222\nPag. 223\nPag. 224\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.14.png","26\n27\nArt. 505\nDesigned by Alvar Aalto (1930–33) \nArt. 505 \nL ⁄ W 60 H 64 P ⁄ D 80 cm \nW 23,6” H 25,2” D 31,5”\nArt. 505: Poltrona con telaio di betulla a nastro; seduta in compensato curvato \nlaccato bianco o nero. ⁄ Art. 505: Armchair with frame in natural ribbon birch. \nSeat in black or white lacquered plywood.\nMvsevm\nCat. Poltrona ⁄ Armchair\nALVAR AALTO\nL’attività di Aalto spaziava dal design di arredi e oggetti in vetro \nall’architettura e alla pittura. La sua collezione di vasi in vetro, \nchiamati Aalto, è conosciuta ed apprezzata in tutto il mondo\ne rappresenta la sua massima espressione nel campo del design. \nA partire da un piccolo e banale cucchiaio, fino ad arrivare ad \nuna città intera (è autore anche dei piani regolatori per Finlandia \ne Svezia), l’opera di Aalto si caratterizza sotto il segno della \nsua “onda” (che in finlandese si dice proprio aalto). Uno dei più \nimportanti architetti moderni europei, partendo dal razionalismo \narchitettonico, ne superò decisamente lo schematismo formale,\nsia con l’impiego geniale di materiali naturali, sia con la ricerca\ndi linee e superfici ondulate, di piante aperte e di una viva \nrelazione tra edificio e ambiente.\nUndoubtedly one of the most important modern European architects.\nTaking architectural rationalism as his starting point, he moved beyond a purely \nformal schematic approach, thanks to his skilled use of natural materials, and his \npainstaking study of undulating surface and line effects, of open plan design and \nthe priority given to the creating of a dynamic interaction between the building \nand its surrounding environment. Aalto’s creative output has ranged from the design \nof glass objects and furnishing to architectural design and painting. His glass vase \ncollection, known as Aalto, is renowned all over the world and is an expression of his \ngreat skill in the design field. Starting from a humble spoon, right up to a complete \ntown (he in fact produced urban development plans for both Finland and Sweden), \nthe work of Aalto is symbolized by his characteristic “wave” (“aalto” being \nin fact the Finnish word for wave).\n1898 \nKuortane, Finland\n1976  \nHelsinki, Finland\nEnglish\nMvsevm\nAlvar Aalto\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.15.png","28\n29\nArt. 524, Art. 536\nMvsevm\nCat. Sedia, Sgabello ⁄ Chair, Stool\nDesigned by Alvar Aalto (1933–35) \nArt. 524 \nL ⁄ W 37,5 H 76 P ⁄ D 45 cm\nArt. 536 \nØ 38 H 44 cm\nW 14,8” H 29,9” D 17,7”\nØ 15” H 17,3”\nArt. 524: Sedia con struttura in faggio lamellare sbiancato. Art. 536: Sgabello \nimpilabile con struttura in faggio lamellare sbiancato. ⁄ Art. 524: Chair with frame \nin bleached layered beechwood. Art. 536: Stacking stool with frame in bleached \nlayered beechwood.\nArt. 519\nDesigned by Alvar Aalto (1936) \nArt. 519 \nL ⁄ W 50 H 56,5 P ⁄ D 90 cm\nW 19,7” H 22,2” D 35,4”\nArt. 519: Carrello con telaio di betulla a nastro; ripiani in laminato bianco o nero, \nruote in laminato bianco. ⁄ Art. 519: Serving cart with frame in natural ribbon birch, \ntops in white or black laminate. Wheels in white laminate.\nMvsevm\nCat. Carrello ⁄ Serving cart\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.16.png","30\n31\nArt. 717, Art. 716\nPatterned after the designs of Charles & Ray Eames (1955–56) \nArt. 717 \nL ⁄ W 86 H 86 P ⁄ D 80 cm\nArt. 716 \nL ⁄ W 66 H 44 P ⁄ D 53 cm\nW 33,8” H 33,8” D 31,5”\nW 26” H 17,3” D 20,9”\nArt. 717: Poltrona girevole in multistrato curvato impiallacciato palissandro,\nciliegio o laccato nero. Schienale e seduta imbottiti e rivestiti in pelle o tessuto. \nBasamento in fusione di alluminio. Art. 716: Poggiapiedi in multistrato curvato \ne impiallacciato palissandro, ciliegio o laccato nero. Cuscino seduta imbottito \ne rivestito in pelle o tessuto. Basamento in fusione di alluminio. \n⁄ Art. 717: Swivel armchair. Shell in curved plywood with a rosewood or a cherry \nveneer or with black–painted finish. Padded seat and back cushions, covered\nin leather or fabric. Cast aluminium basement. Art. 716: Footrest. Shell in curved \nplywood with a rosewood or a cherry veneer or with black–painted finish.\nPadded seat cushion, covered in leather or fabric. Cast aluminium basement.\nMvsevm\nCat. Poltrona, Poggiapiedi ⁄ Armchair, Footrest\nPATTERNED AFTER THE DESIGNS OF CHARLES EAMES\nCharles Eames occupò una posizione unica nel mondo del\ndesign: a partire dal 1940 lui e sua moglie Ray Eames provocarono \nuna svolta nel modo in cui noi guardiamo ogni cosa. Una parte \ndel segreto del successo degli Eames fu che gli elementi che \nscelsero non derivavano mai dal mondo dell’arte. Forse solo \nLos Angeles, con il suo ambiente culturale libero e i suoi dibattiti \nsui valori Europei, poteva sostenere un approccio al design così \nedonista ed eccentrico. Il suo primo maggior successo arrivò \nnel 1940 quando, in collaborazione con Eero Saarinen, creò \nil designer della sedia vincente alla competizione “Organic Design \nin Home Furnishings”, per il Museo d’Arte Moderna. Esibite nel \nmuseo nel 1941, queste sedie furono innovative nel loro uso \ndel multistrato modellato a forma di conchiglia, non in una \ndirezione come in Aalto o Breuer, ma in due direzioni per creare \nuna vera “scultura”, un effetto tridimensionale.\nMvsevm\nPatterned after the designs of Charles Eames\nCharles Eames has played a truly unique role in the design sphere: as from\n1940 he and his wife Ray revolutionized the way in which we view each thing.\nPart of the secret behind their success, was the fact that the elements that they \nchose never derived from the world of art. Only a place like Los Angeles, with \nits liberated cultural climate and its debates on European values, could accept \nsuch a hedonist and eccentric design concept. His greatest success was in 1940 \nwhen he designed the winning chair at the “Organic Design in Home Furnishings” \ncompetition, for the Modern Art Museum, in collaboration with Eero Saarinen.\nThe chairs were exhibited at the museum in 1941, and proved highly innovative \nin their use of moulded multi–layer in a shell shape, not in a single direction \nas in the case of Aalto or Breuer, but in two directions thereby creating a true\nthree–dimensional “sculpture”.\n1907 \nSt. Louis, Missouri, USA\n1978  \nSt. Louis, Missouri, USA\nEnglish\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.17.png","32\n33\nMvsevm\nCat. Poltrona, Poggiapiedi ⁄ Armchair, Footrest\nArt. 717, Art. 716\nMvsevm\nPatterned after the designs of Charles Eames\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.18.png","34\n35\nArt. 727\nPatterned after the designs of Charles & Ray Eames (1955–56) \nArt. 727 \nL ⁄ W 86 H 106,5–114\n \nP ⁄ D 70 cm\nW 33,8” H 41,9”–44,9”\nD 27,6”\nArt. 727: Poltrona girevole in multistrato curvato impiallacciato palissandro,\nciliegio o laccato nero. Schienale e seduta imbottiti e rivestiti in pelle o tessuto. \nBasamento in fusione di alluminio con ruote, regolabile in altezza.\n⁄ Art. 727: Swivel armchair. Shell in curved plywood with a rosewood or a cherry \nveneer or with black–painted finish. Padded seat and back cushions, covered\nin leather or fabric. Adjustable cast aluminium basement on casters.\nMvsevm\nCat. Poltrona ⁄ Armchair\nArt. 717, Art. 716\nMvsevm\nCat. Poltrona, Poggiapiedi ⁄ Armchair, Footrest\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.19.png","36\n37\nArt. 759\nMvsevm\nCat. Tavolino ⁄ Coffee table\nPatterned after the designs of Charles Eames (1950) \nArt. 759 \nL ⁄ W 225 H 26 P ⁄ D 73,5 cm\nW 88,6” H 10,2” D 28,9”\nArt. 759: Tavolino con base in tondino di acciaio laccato o cromato; piano in \ncompensato marino ricoperto con laminato nero o bianco. ⁄ Art. 759: Coffee table \nwith frame in painted or chrome–plated steel wire. Top in marine plywood \nclad covered with black or white laminate.\nMvsevm\nCat. Tavolino ⁄ Coffee table\nPatterned after the designs of Charles & Ray Eames (1948) \nArt. 739 \nL ⁄ W 41 H 26 P ⁄ D 35 cm\nW 16,1” H 10,2” D 13,8”\nArt. 739: Tavolino con base in tondino di acciaio laccato o cromato; piano in \nmultistrato marino ricoperto con laminato nero o bianco. ⁄ Art. 739: Coffee table \nwith frame in painted or chrome–plated steel wire. Top in marine plywood \nclad covered with black or white laminate.\nArt. 739\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.20.png","38\n39\nMvsevm\nCat. Tavolino ⁄ Coffee table\nArt. 759\nMvsevm\nPatterned after the designs of Charles Eames\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.21.png","40\n41\nArt. 749\nMvsevm\nCat. Tavolino ⁄ Coffee table\nPatterned after the designs of Charles & Ray Eames (1946) \nArt. 749 \nØ 86 H 40 cm\nØ 33,9” H 15,7”\nArt. 749: Tavolino in multistrato di frassino curvato naturale, tinto termotrattato, \ngrigio o nero. ⁄ Art. 749: Coffee table in natural, heat–treated, grey or black–stained \nash curved plywood.\nArt. 734\nMvsevm\nCat. Poltroncina ⁄ Lounge chair\nPatterned after the designs of Charles & Ray Eames (1946) \nArt. 734 \nL ⁄ W 56 H 68 P ⁄ D 66 cm\nW 22” H 26,8” D 26”\nArt. 734: Poltroncina in multistrato di frassino curvato naturale, tinto termotrattato, \ngrigio o nero. ⁄ Art. 734: Lounge chair in natural, heat–treated, grey or black–stained \nmoulded ash plywood.\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.22.png","42\n43\nMvsevm\nCat. Paravento ⁄ Screen\nPatterned after the designs of Charles & Ray Eames (1946) \nArt. 700 \nL ⁄ W 154 H 172 P ⁄ D 7 cm\nW 60,6” H 67,7” D 2,8”\nArt. 700: Paravento in multistrato di frassino naturale, tinto termotrattato, grigio, \nnero o bianco con corde nere. ⁄ Art. 700: Screen in natural, heat–treated, grey, \nblack or white stained curved ash plywood with black straps.\nArt. 700\nMvsevm\nPatterned after the designs of Charles Eames\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.23.png","44\n45\nArt. 854, Art. 855\nDesigned by Charles Rennie Mackintosh (Art. 854, 1897 – Art. 855, 1899) \nArt. 854 \nL ⁄ W 49 H 137 P ⁄ D 46 cm\nArt. 855 \nL ⁄ W 54 H 137 P ⁄ D 48 cm\nW 19,3” H 53,9” D 18,1”\nW 21,3” H 53,9” D 18,9”\nArt. 854, Art. 855: Sedia con struttura in frassino laccato nero a poro aperto;\nseduta imbottita. ⁄ Art. 854, Art. 855: Chair in black–stained ash open pore;\npadded seat.\nMvsevm\nCat. Sedia ⁄ Chair\nMvsevm\nCharles Rennie Mackintosh\nCharles Rennie Mackintosh was one of the most talented architects of his time. \nHe studied at the Glasgow School of Art and was the apprentice of architect John \nHutchinson before teaming up with Honeyman and Keppie. The spirit of his work \nis wonderfully reflected in his main work, the Glasgow School of Art. Where it is \npossible to trace all the various stages of his career from the influence of Art Noveau \nup to the geometric purism of the Modernist movement. His furniture designs being \nwidely acclaimed as being the most brilliant and modern of all British furniture\nof the time.\n1868 \nGlasgow, UK\n1928 \nLondon, UK\nEnglish\nCHARLES RENNIE MACKINTOSH\nCharles Rennie Mackintosh fu uno dei talenti più creativi \ndel suo tempo. Studiò alla Glasgow School of Art, fu apprendista \npresso l’architetto John Hutchinson prima di unirsi ad Honeyman \nand Keppie. Lo spirito della sua opera è racchiuso nella sua \nopera principale, la Glasgow School of Art. Qui possiamo vedere \nlo sviluppo della sua carriera dall’influenza Art Noveau sino \nal purismo geometrico del Modernismo. I suoi progetti \ndi mobili sono considerati i più geniali e all’avanguardia \ntra tutti i mobili britannici dell’epoca. \n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.24.png","46\n47\nArt. 864\nDesigned by Charles Rennie Mackintosh (1900)\nArt. 864 \nL ⁄ W 47 H 150 P ⁄ D 45 cm\nW 18,5” H 59” D 17,7”\nArt. 864: Sedia con struttura in frassino laccato nero a poro aperto; seduta \nimbottita. ⁄ Art. 864: Chair in black–stained ash, open pore; padded seat.\nMvsevm\nCat. Sedia ⁄ Chair\nArt. 834\nDesigned by Charles Rennie Mackintosh (1900)\nArt. 834 \nL ⁄ W 47 H 106 P ⁄ D 45 cm\nW 18,5” H 41,7” D 17,7”\nArt. 834: Sedia con struttura in frassino laccato nero a poro aperto; seduta \nimbottita. ⁄ Art. 834: Chair in black–stained ash, open pore; padded seat.\nMvsevm\nCat. Sedia ⁄ Chair\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.25.png","48\n49\nArt. 871\nDesigned by Charles Rennie Mackintosh (1917) \nArt. 871 \nL ⁄ W 83,5 H 84,5 P ⁄ D 65 cm\nW 32,9” H 33,3” D 25,6”\nArt. 871: Poltrona con struttura in frassino laccato nero, tinto termotrattato\no grigio a poro aperto, con inserti in madreperla; seduta e braccioli imbottiti.\n⁄ Art. 871: Armchair with frame in black, grey or heat–treated stained ash,\nopen pore, with mother of pearl inlays; padded seat and arms.\nMvsevm\nCat. Poltrona ⁄ Armchair\nArt. 814\nDesigned by Charles Rennie Mackintosh (1903)\nArt. 814 \nL ⁄ W 41 H 140 P ⁄ D 36 cm\nW 16,1” H 55,1” D 14,2”\nArt. 814: Sedia con struttura in frassino laccato nero a poro aperto; seduta \nimbottita. ⁄ Art. 814: Chair in black–stained ash, open pore; padded seat.\nMvsevm\nCat. Sedia ⁄ Chair\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.26.png","50\n51\nArt. 804\nDesigned by Charles Rennie Mackintosh (1903) \nArt. 804 \nL ⁄ W 46 H 104,5 P ⁄ D 39,5 cm\nW 18,1” H 41,1” D 15,6”\nArt. 804: Sedia con struttura in frassino laccato nero a poro aperto, seduta \nin paglia intrecciata o imbottita. ⁄ Art. 804: Chair in black–stained ash, open pore.\nSeat in woven straw or padded.\nMvsevm\nCat. Sedia ⁄ Chair\nArt. 844, Art. 845\nDesigned by Charles Rennie Mackintosh (1918) \nArt. 844 \nL ⁄ W 49 H 75,5 P ⁄ D 45 cm\nArt. 845 \nL ⁄ W 52,5 H 75,5 P ⁄ D 47 cm\nW 19,3” H 29,7” D 17,7”\nW 20,7” H 29,7” D 18,5”\nArt. 844, Art. 845: Sedia e poltroncina con struttura in frassino laccato nero \na poro aperto con intarsi in madreperla; seduta in paglia lavorata a mano o imbottita. \n⁄ Art. 844, Art. 845: Chair and armchair. Frame in black–stained ash, open pore\nwith mother of pearl inlays; seat in hand woven straw or padded.\nMvsevm\nCat. Sedia, Poltroncina ⁄ Chair, Armchair\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.27.png","52\n53\nMvsevm\nCat. Trono ⁄ Willow chair\nArt. 825\nDesigned by Charles Rennie Mackintosh (1904) \nArt. 825 \nL ⁄ W 94 H 119 P ⁄ D 41 cm\nW 37” H 46,9” D 16,1”\nArt. 825: Trono con struttura in frassino laccato nero a poro aperto; \ncuscino imbottito. Piano con cerniere e vano interno. ⁄ Art. 825: Willow chair. \nFrame in black–stained ash, open pore. Padded cushion. Hinged top \nand inside compartment.\nMvsevm\nCharles Rennie Mackintosh\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.28.png","54\n55\nDesigned by Charles Rennie Mackintosh (1918) \nArt. 809 \nL ⁄ W 57–177 H 75 P ⁄ D 125 cm\nW 22,4”–69,7” H 29,5” D 49,2”\nArt. 809: Tavolo con struttura in frassino laccato nero a poro aperto,\npiano reclinabile sui due lati. ⁄ Art. 809: Table with frame in black–stained ash,\nopen pore. Folding leafs at both ends.\nMvsevm\nCat. Tavolo ⁄ Table\nArt. 809\nMvsevm\nCharles Rennie Mackintosh\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.29.png","56\n57\nDesigned by Charles Rennie Mackintosh (1903) \nArt. 860 \nØ 31 H 201 cm\nØ 12,2” H 79,1”\nArt. 860: Appendiabiti con struttura in frassino verniciato a poro aperto; ganci di \nacciaio laccato nero. Vaschette di ottone argentato. ⁄ Art. 860: Coat hanger in open \npore painted ash; hooks in black painted steel. Trays in silver–plated brass.\nMvsevm\nCat. Appendiabiti ⁄ Coat hanger\nArt. 860\nArt. 819\nDesigned by Charles Rennie Mackintosh (1918) \nArt. 819 \nL ⁄ W 100 H 76 P ⁄ D 100 cm\nW 39,4” H 29,9” D 39,4”\nArt. 819: Tavolo con struttura in frassino laccato nero a poro aperto.\n⁄ Art. 819: Table with frame in black–stained ash, open pore.\nMvsevm\nCat. Tavolo ⁄ Table\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.30.png","58\n59\nArt. 423\nMvsevm\nCat. Divano ⁄ Sofa\nDesigned by Eileen Gray (1924) \nArt. 423 \nL ⁄ W 240 H 87 P ⁄ D 90 cm\nW 94,5” H 34,2” D 35,4”\nArt. 423: Divano con struttura in legno ricoperto di gomma poliuretanica \ne fodera in fibra di poliestere. Cuscini in piuma d'oca sterilizzata, rivestiti in pelle \no tessuto. Non sfoderabile. Fianchi in legno laccato al poliestere nero con ruote.\n⁄ Art. 423: Sofa with frame in wood covered with polyuretane foam and polyester \nfiber lining. Cushions in sterilized goose down, covered with leather or fabric.\nEnd boxes on casters in black–laquered wood with polyester finish.\nNon–removable covers.\nEILEEN GRAY\nEileen Gray nacque ad Enniscorthy in Irlanda nel 1878.\nMorì a Parigi nel 1976. Di famiglia immigrata, frequentò la Slade \nSchool a Londra, e si trasferì finalmente in Francia nel 1907.\nUn periodo iniziale di sperimentazione con la lacca fu seguito da \nun interesse crescente per il design di mobili ed in seguito per \nprogetti architettonici. I suoi disegni sono sempre originali\ne di grande eleganza.\nMvsevm\nEileen Gray\nEileen Gray was born in Enniscorthy in Ireland in 1878. She died in Paris in 1976.\nShe was from an emigrant family and attended the Slade School in London, \nbefore finally moving to France in 1907. Following an initial experimental period \nwith lacquers, she became increasingly involved in furniture design, and later \nin architectural projects. Her designs always being highly original and refined.\n1878 \nEnniscorthy, Ireland\n1976  \nParis, France\nEnglish\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.31.png","60\n61\nMvsevm\nCat. Paravento ⁄ Screen\nDesigned by Eileen Gray (1922) \nArt. 400 \nL ⁄ W 152 H 172 cm\n W 59,8” H 67,7”\nArt. 400: Paravento con pannelli in MDF laccato con vernice al poliestere. \nAste di supporto in acciaio, ferramenta in ottone. ⁄ Art. 400: Screen. \nPanels in polyester lacquered MDF. Steel rods, brass hardware.\nArt. 400\nMvsevm\nEileen Gray\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.32.png","62\n63\nArt. 419, Art. 439\nMvsevm\nCat. Tavolino ⁄ Side table\nDesigned by Eileen Gray (Art. 419, 1925 – Art. 439, 1928) \nArt. 419 \nL ⁄ W 54,5 H 76,5 P ⁄ D 64 cm\nArt. 439 \nL ⁄ W 46 H 66,5 P ⁄ D 56,5 cm\nW 21,5” H 30,1” D 25,2”\nW 18,1” H 26,2” D 22,2”\nArt. 419, Art. 439: Tavolino con struttura in tubo di acciaio cromato o laccato,\nbase e piano in MDF laccato con vernice antigraffio. ⁄ Art. 419, Art. 439: Side table \nwith chrome–plated or painted tubular steel frame. Base and top in MDF with \na scratchproof laquer finish.\nArt. 421\nMvsevm\nCat. Poltrona ⁄ Armchair\nDesigned by Eileen Gray (1927) \nArt. 421 \nL ⁄ W 100 H 75 P ⁄ D 81 cm\n W 39,4” H 29,5” D 31,9”\nArt. 421: Poltrona con struttura in legno ricoperto di gomma poliuretanica e fodera \nin fibra di poliestere. Base in tubo di acciaio cromato o laccato. Rivestimento in \npelle o ecopelle. ⁄ Art. 421: Armchair with frame in wood covered with polyurethane \nfoam and polyester fiber lining. Chrome–plated or painted tubular steel base. \nLeather or eco–leather cover.\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.33.png","64\n65\nArt. 407\nMvsevm\nCat. Sdraio ⁄ Lounge chair\nDesigned by Eileen Gray (1927) \nArt. 407 \nL ⁄ W 56,5 H 77,5 P ⁄ D 107 cm\nW 22,2” H 30,5” D 42,1”\nArt. 407: Sdraio imbottita, con struttura in legno laccato lucido nero o bianco\ne accessori in ottone cromato. Rivestimento in pelle. ⁄ Art. 407: Lounge chair with \nframe in black or white glossy lacquered wood and chrome–plated brass parts. \nPadded cushion. Leather cover.\nArt. 409\nMvsevm\nCat. Tavolino ⁄ Side table\nDesigned by Eileen Gray (1927) \nArt. 409 \nØ 51 H 62–100 cm\n Ø 20” H 24,4”–39,4”\nArt. 409: Tavolino con struttura in tubo di acciaio cromato; piano in cristallo.\n⁄ Art. 409: Side table with chrome–plated tubular steel frame; plate glass top.\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.34.png","66\n67\nMvsevm\nCat. Sdraio ⁄ Lounge chair\nArt. 407\nMvsevm\nEileen Gray\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.35.png","68\n69\nArt. 455\nMvsevm\nCat. Sedia ⁄ Chair\nDesigned by Eileen Gray (1926–28) \nArt. 455 \nL ⁄ W 46 H 81,5 P ⁄ D 49 cm\nW 18,1” H 32” D 19,3”\nArt. 455: Sedia con struttura in tubo di acciaio cromato o laccato; seduta \ne schienale in cuoio o in cavallino. ⁄ Art. 455: Chair with chrome–plated or painted \ntubular steel frame. Seat and back in hide or cowhide.\nArt. 427\nMvsevm\nCat. Divano ⁄ Sofa\nDesigned by Eileen Gray (1922) \nArt. 427 \nL ⁄ W 190 H 62 P ⁄ D 89 cm\n W 74,8” H 24,4” D 35”\nArt. 427: Divano con struttura in tubolare di acciaio cromato o laccato. Cuscino\ntrapuntato in gomma poliuretanica e dacron. Rivestimento in tessuto o pelle.\n⁄ Art. 427: Sofa in chrome–plated or painted tubular steel. Quilted cushion filled \nwith polyurethane foam and dacron. Leather or fabric covers.\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.36.png","70\n71\nMvsevm\nCat. Sedia ⁄ Chair\nArt. 455\nMvsevm\nEileen Gray\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.37.png","72\n73\nMvsevm\nCat. Tavolo ⁄ Table\nDesigned by Eileen Gray (1925–28) \nArt. 469 \nL ⁄ W 64–128 H 72 P ⁄ D 70 cm\nW 25,2”–50,4” H 28,3” D 27,5”\nArt. 469: Tavolo allungabile con struttura in tubo di acciaio cromato. \nPiano in laminato nero o bianco. ⁄ Art. 469: Extendable table with chrome–plated \ntubular steel frame. Top in black or white laminate.\nArt. 469\nMvsevm\nEileen Gray\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.38.png","74\n75\nArt. 769 ⁄ 5 ⁄ 6 ⁄ 7 ⁄ 12\nDesigned by Eero Saarinen (1956) \nArt. 769 ⁄ 5 \nL ⁄ W 198 H 74 P ⁄ D 121 cm\nArt. 769 ⁄ 6 \nL ⁄ W 244 H 74 P ⁄ D 137 cm\nArt. 769 ⁄ 7 \nL ⁄ W 235 H 74 P ⁄ D 122 cm\nArt. 769 ⁄ 12 \nL ⁄ W 180 H 74 P ⁄ D 105 cm\nW 78” H 29,1” D 47,6”\nW 96” H 29,1” D 53,9”\nW 92,5” H 29,1” D 48”\nW 70,9” H 29,1” D 41,3”\nArt. 769 ⁄ 5 ⁄ 6 ⁄ 7 ⁄ 12: Tavolo ovale con piedistallo in fusione di alluminio laccato. \nPiano in marmo o laccato antigraffio. ⁄ Art. 769 ⁄ 5 ⁄ 6 ⁄ 7 ⁄ 12: Oval table with painted \ncast aluminium pedestal. Top in marble or scratchproof lacquered.\nMvsevm\nCat. Tavolo ⁄ Table\nMvsevm\nEero Saarinen\nEero Saarinen, the son of the famous architect and the first president of the \nCranbrook Academy of Art, Eliel Saarinen, was born in Helsinki, and moved to the \nUnited States in 1923. He studied sculpture at the Académe de la Grande Cheumiere \nin Paris (1929 ⁄ 30) and subsequently architecture at Yale University in New Haven \n(Connecticut), from where he graduated in 1934. He went to Europe in 1934 ⁄ 35 on \na scholarship awarded by this same university. On his return he began teaching at \nthe Cranbrook Academy of Art. He worked together with Charles Eames in 1937, \non the design of a series of modern furnishings that were presented and awarded \nprizes at the “Organic Design in Home Furnituring” competition, organized in 1940 \nby the Modern Art Museum of New York. He subsequently designed several other \npieces of furniture with the greatest success. He worked in his father’s architectural \nstudio, until his father’s death in. His most famous architectural project remains \nthe TWA terminal of the J.F. Kennedy airport in New York.\n1910 \nKirkkonummi, Finland\n1961 \nAnn Arbor, USA\nEnglish\nEERO SAARINEN\nEero Saarinen è figlio del celebre architetto e primo presidente \ndella Cranbrook Academy of Art, Eliel Saarinen. Nato a Helsinki, \nsi trasferisce nel 1923 negli Stati Uniti. Studia scultura all’Académe \nde la Grande Cheumiere di Parigi (1929 ⁄ 30) e poi architettura \nalla Yale University a New Haven (Connecticut), laureandosi nel \n1934. Con una borsa di studio della stessa università va in Europa \nnel 1934 ⁄ 35. Al suo ritorno inizia l’insegnamento alla Cranbrook \nAcademy of Art. Nel 1937 collabora con Charles Eames, con cui \nprogetta una serie di mobili d’avanguardia presentati e premiati \nal concorso “Organic Design in Home Furnituring”, organizzato \nnel 1940 dal Museum of Modern Art di New York. Lavora nello \nstudio d’architettura del padre fino alla morte di questi, avvenuta \nnel 1950. Il suo progetto architettonico più rilevante è il terminal \ndella compagnia TWA all’aeroporto J.F. Kennedy di New York.\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.39.png","76\n77\nMvsevm\nCat. Tavolo ⁄ Table\nArt. 769 ⁄ 6\nMvsevm\nEero Saarinen\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.40.png","78\n79\nDesigned by Eero Saarinen (1956) \nArt. 769 ⁄ 1 \nØ 91 H 74 cm\nArt. 769 ⁄ 2 \nØ 120 H 74 cm\nArt. 769 ⁄ 11 \nØ 80 H 74 cm\nArt. 769 ⁄ A \nØ 107 H 74 cm\nArt. 769 ⁄ 30 Ø 130 H 74 cm\nØ 35,8” H 29,1”\nØ 47,2” H 29,1”\nØ 31,5” H 29,1”\nØ 42,1” H 29,1”\nØ 51,2” H 29,1”\nArt. 769 ⁄ 1 ⁄ 2 ⁄ 11 ⁄ A ⁄ 30: Tavolo rotondo con piedistallo in fusione di alluminio \nlaccato. Piano in marmo o laccato antigraffio. ⁄ Art. 769 ⁄ 1 ⁄ 2 ⁄ 11 ⁄ A ⁄ 30: Round \ntable with painted cast aluminium pedestal. Top in marble or scratchproof \nlacquered.\nMvsevm\nCat. Tavolo ⁄ Table\nArt. 769 ⁄ 1 ⁄ 2 ⁄ 11 ⁄ A ⁄ 30\nMvsevm\nEero Saarinen\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.41.png","80\n81\nDesigned by Eero Saarinen \nArt. 769 ⁄ XL160 \nØ 160 H 74 cm\nØ 63” H 29,1”\nArt. 769 ⁄ XL160: Tavolo rotondo con piedistallo in fusione di alluminio laccato.\nPiano in marmo o laccato antigraffio. ⁄ Art. 769 ⁄ XL160: Round table with painted \ncast aluminium pedestal. Top in marble or scratchproof lacquered.\nMvsevm\nCat. Tavolo ⁄ Table\nArt. 769 ⁄ XL160\nMvsevm\nEero Saarinen\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.42.png","82\n83\nDesigned by Eero Saarinen (1953–58)\nArt. 769 ⁄ S \nL ⁄ W 51 H 83 P ⁄ D 52 cm\nW 20,1” H 32,7” D 20,5”\nArt. 769 ⁄ S: Sedia girevole con piedistallo in fusione di alluminio laccato bianco \no nero. Scocca in ABS colore bianco o nero. Cuscino in gomma poliuretanica \nrivestito in pelle o tessuto, sfoderabile. ⁄ Art. 769 ⁄ S: Swivel chair with cast \naluminium pedestal painted white or black. Seat shell in white or black ABS. \nSeat cushion in polyurethane foam covered in removable leather or fabric.\nMvsevm\nCat. Sedia ⁄ Chair\nArt. 769 ⁄ S\nMvsevm\nEero Saarinen\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.43.png","84\n85\nArt. 769 ⁄ 3 ⁄ 4\nDesigned by Eero Saarinen (1956) \nArt. 769 ⁄ 3 \nØ 51 H 52 cm\nArt. 769 ⁄ 4 \nØ 41 H 52 cm\nØ 20” H 20,5”\nØ 16,1” H 20,5”\nArt. 769 ⁄ 3 ⁄ 4: Tavolino con piedistallo in fusione di alluminio laccato. \nPiano in marmo o laccato antigraffio. ⁄ Art. 769 ⁄ 3 ⁄ 4: Side table with painted \ncast aluminium pedestal. Top in marble or scratchproof lacquered.\nMvsevm\nCat. Tavolino ⁄ Side table\nArt. 769 ⁄ P\nDesigned by Eero Saarinen \nArt. 769 ⁄ P \nØ 42 H 45 cm\nØ 16,5” H 17,7”\nArt. 769 ⁄ P: Sgabello girevole con piedistallo in fusione di alluminio laccato. \nCuscino in gomma poliuretanica e dacron rivestito in pelle o tessuto.\n⁄ Art. 769 ⁄ P: Swivel stool with painted cast aluminium pedestal.\nCushion in polyurethane foam and dacron, covered in leather or fabric.\nMvsevm\nCat. Sgabello ⁄ Stool\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.44.png","86\n87\nArt. 769 ⁄ 8 ⁄ 13\nDesigned by Eero Saarinen \nArt. 769 ⁄ 8 \nØ 91 H 40 cm\nArt. 769 ⁄ 13 \nØ 51 H 40 cm\nØ 35,8” H 15,7”\nØ 20” H 15,7”\nArt. 769 ⁄ 8 ⁄ 13: Tavolino rotondo con piedistallo in fusione di alluminio laccato. \nPiano in marmo o laccato antigraffio. ⁄ Art. 769 ⁄ 8 ⁄ 13: Round coffee table \nwith painted cast aluminium pedestal. Top in marble or scratchproof lacquered.\nMvsevm\nCat. Tavolino ⁄ Coffee table\nArt. 769 ⁄ 9\nDesigned by Eero Saarinen \nArt. 769 ⁄ 9 \nL ⁄ W 105 H 40 P ⁄ D 70 cm\nW 41,3” H 15,7” D 27,5”\nArt. 769 ⁄ 9: Tavolino ovale con piedistallo in fusione di alluminio laccato.\nPiano in marmo o laccato antigraffio. ⁄ Art. 769 ⁄ 9: Oval coffee table with painted \ncast aluminium pedestal. Top in marble or scratchproof lacquered.\nMvsevm\nCat. Tavolino ⁄ Coffee table\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.45.png","88\n89\nArt. 789\nDesigned by Frederick John Kiesler (1935) \nArt. 789 \nL ⁄ W 90–64 H 24,5\n \nP ⁄ D 64–41 cm\nW 35,4”–25,2” H 9,6”\nD 25,2”–16,1”\nArt. 789: Tavolino in fusione di alluminio spazzolato e verniciato.\n⁄ Art. 789: Coffee table in brushed and painted cast aluminium.\nMvsevm\nCat. Tavolino ⁄ Coffee table\nMvsevm\nFrederick John Kiesler \nFrederick John Kiesler, was the theorist and designer of the Endless House,\na prototype that was never actually completed, of a house for the future. He however \nremains one of the most complex and representative artists of the 20th century. \nHe war born in Černivci in Ukraine, and moved to Vienna at an early age where \nhe attended the faculty of architecture followed by the Fine Art Academy, although \nhe did not complete his studies. Whilst in Vienna, Kiesler got a feeling for the \nundercurrent of change underway in the Austrian capital for decades: everybody \nwas involved in the search for a new architectural language from Otto Wagner \nto Adolf Loos, while the local cafés were the venues in which intellectuals and artists \nsuch as Karl Krauss, Alban Berg and Franz Werfel were creating, what Kiesler \ntermed “the creative twenties”. His main objective right from the start, being that \nof undermining the previously orthodox manner of using space, by proposing a \nseries of scenarios specifically conceived and created for the occasion, always with \nthe intention of subverting traditional space coordinates. He was constantly involved \nin the attempt to create an illusion of endless space that could act as a stimulant \nfor both man’s mind and body, right from his exhibits at the Art of This Century \ngallery of Peggy Guggenheim to the Blood Flames exhibition, from his inventions \nfor the Universal Exhibition of Surrealism to the World House Gallery in 1952.\n1890 \nCzernowitz, Ukraine\n1965 \nNew York, USA\nEnglish\nFREDERICK JOHN KIESLER \nFrederick John Kiesler, teorico e progettista della Endless \nHouse, prototipo mai realizzato di un’abitazione per il futuro, \nè senza dubbio uno fra gli artisti più complessi e completi \ndel ventesimo secolo. Nato a Černivci in Ucraina, si trasferì \ngiovanissimo a Vienna per frequentare la facoltà di architettura \ne in seguito l’Accademia delle Belle Arti, senza portare a termine \ngli studi. A Vienna Kiesler respirò l’aria di cambiamento che già \nda decenni caratterizzava la capitale austriaca: da Otto Wagner \na Adolf Loos, tutti erano alla ricerca di un nuovo linguaggio per \nl’architettura mentre, nei caffè, pensatori e artisti come Karl \nKrauss, Alban Berg e Franz Werfel davano vita a quelli che Kiesler \nchiamò “i creativi anni Venti”. La sua ricerca, fin dagli inizi, \nfu tesa a scardinare la maniera ortodossa di fruire dello spazio, \nproponendo scenari pensati e costruiti su misura per diverse \noccasioni, ma sempre indirizzati a sovvertire le coordinate \nspaziali tradizionali. Dalla galleria Art of This Century di Peggy \nGuggenheim alla mostra Blood Flames, dalle invenzioni per \nl’Esposizione Universale del Surrealismo alla World House \nGallery del 1952, egli cercò instancabilmente di creare l’illusione \ndi uno spazio senza fine, stimolante per il corpo e per \nla mente dell’uomo. \n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.46.png","90\n91\nArt. 484\nMvsevm\nCat. Divano ⁄ Sofa\nDesigned by George Nelson (1956) \nArt. 484 \nL ⁄ W 158 H 96 P ⁄ D 85 cm\nW 62,2” H 37,8” D 33,5”\nArt. 484: Divano con struttura in tubo d’acciaio cromato con traversi laccati \no tutto laccato. Imbottitura in poliuretano e dacron. Rivestimento in pelle \no ecopelle. ⁄ Art. 484: Sofa with chrome–plated tubular steel frame with painted \ncross–bars or totally painted frame. Cushions made of polyurethane foam \nand dacron. Leather or eco–leather covers.\nGEORGE NELSON\nGeorge Nelson fu uno dei pionieri del movimento moderno, \nassieme a straordinari designers americani come Raymond Loewy, \nCharles Eames e Eliot Noyes. Lo studio di Nelson produsse\nalcuni dei pezzi canonici del design industriale del XX secolo,\nmolti dei quali sono ancora in produzione: l’orologio “Ball”,\nla lampada “Bubble” ed il divano “Sling”. Nelson fornì anche grossi \ncontributi anche allo “Storage wall”, al centro commerciale, alla \npresentazione multimediale e al sistema di ufficio “Open–plan”. \nLa gamma completa dei lavori di Nelson è ben rappresentata,\ndal disegno di prodotto ed arredo al packaging e grafica, a progetti \na grande scala come la casa “Fairchild” e la Fiera Nazionale \nAmericana a Mosca del 1959.\nMvsevm\nGeorge Nelson\nGeorge Nelson was one of the pioneers of the modernist design movement\ntogether with such exceptional American designers as Raymond Loewy, Charles \nEames and Eliot Noyes. The output from Nelson’s studio included some of the most \nhistoric examples of 20th century industrial design, many of the items being still \nin production today: such as the “Ball” clock, the “Bubble” lamp and the “Sling” \nsofa. Nelson also gave a great contribution to the design of the “Storage wall”, \nthe shopping centre, multi–media presentation and the “Open–plan” office system. \nThe full range of Nelson’s works spanning from product and furnishing design, \nto packaging and graphics, to his larger scale projects such as the “Fairchild”\nhouse and the American National Exhibition in Moscow in 1959.\n1908 \nHartford, USA \n1986  \nNew York, USA\nEnglish\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.47.png","92\n93\nMvsevm\nCat. Divano ⁄ Sofa\nArt. 484\nMvsevm\nGeorge Nelson\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.48.png","94\n95\nMvsevm\nCat. Letto ⁄ Bed\nDesigned by George Nelson (1952) \nArt. 777: Letto con struttura in ciliegio. Rete con doghe in faggio. Base in tubo \nd’acciaio cromato o laccato. ⁄ Art. 777: Bed. Frame in cherrywood. Beechwood slats. \nPainted or chrome–plated tubular steel base.\nArt. 777\nMvsevm\nGeorge Nelson\nArt. 777\nMaterasso ⁄ Mattress\nL ⁄ W 180 H 90 P ⁄ D 210 cm\n160 × 197 cm\nW 70,9” H 35,4” D 82,7”\n63” × 77,6”\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.49.png","96\n97\nArt. 776\nMvsevm\nCat. Panca ⁄ Bench\nDesigned by George Nelson (1947) \nArt. 776 \nL ⁄ W 180 H 35 P ⁄ D 47 cm\nW 70,9” H 13,8” D 18,5”\nArt. 776: Panca con piano in massello di noce americano naturale o laccato nero. \nGambe in legno laccato nero. ⁄ Art. 776: Bench with top in natural or black–painted \nsolid hickory. Black painted wooden feet.\nArt. 766\nMvsevm\nCat. Panca ⁄ Bench\nDesigned by George Nelson (1947) \nArt. 766 \nL ⁄ W 120 H 35 P ⁄ D 47 cm\nW 47,2” H 13,8” D 18,5”\nArt. 766: Panca con piano in massello di noce americano naturale o laccato nero. \nGambe in legno laccato nero. ⁄ Art. 766: Bench with top in natural or black–painted \nsolid hickory. Black painted wooden feet.\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.50.png","98\n99\nArt. 565\nMvsevm\nCat. Poltrona ⁄ Armchair\nDesigned by Gerald Summers (1929) \nArt. 565 \nL ⁄ W 60 H 70 P ⁄ D 91 cm\nW 23,6” H 27,5” D 35,8”\nArt. 565: Poltrona con struttura in multistrato di faggio impiallacciato in betulla \nnaturale o laccata a poro chiuso. ⁄ Art. 565: Armchair with frame in beech plywood \ncovered with a layer of birch, natural or closed pore lacquered.\nGERALD SUMMERS\nGerald Summers, uno dei pionieri dello stile funzionale, \nfondò nel 1929 la “Makers of Simple Furniture Ltd.”, con lo scopo \ndi produrre mobili funzionali in stile moderno. Nel 1933 P. Morton \nShand, editore di “Architectural Review”, organizzò una mostra \ndi mobili di Alvar Aalto al magazzino di Londra Fortnum and \nMason’s. Questa fu accolta favorevolmente perché collimava \ncol gusto inglese e offriva un’alternativa alla freddezza del mobile \nmetallico a quei tempi in voga nei circoli modernisti. Nel 1934 \nSummers produsse questa interessante sedia che, a differenza \ndei modelli di Aalto e di altri disegnatori di mobili curvati \ncomposti di varie parti, risulta di un unico foglio di compensato \ncurvato. Dal punto di vista tecnico e formale, è certamente \nuna delle più straordinarie sedie di legno curvato mai prodotte. \nIn tutto Summers produsse di questa sedia solo 120 pezzi, \noggi divenuti rari e molto ricercati dai collezionisti del settore. \n“Markers of Simple Forniture Ltd” fu costretta a chiudere \nnel 1939 a causa delle restrizioni doganali sull’importazione \ndel compensato. Gerald Summers abbandonò la produzione \ndei mobili e si dedicò a quella dei cuscinetti a sfera.\nMvsevm\nGerald Summers\nGerald Summers, one of the earliest designer–producers of functional furniture, \nformed “Makers of Simple Furniture Ltd.” in 1929. Its purpose was to produce \npractical furniture in the modern style. In 1933, P. Morton Shand, editor of the \nArchitectural Review, organized a small exhibition of the furniture of Alvar Aalto \nat Fortnum & Mason’s department store in London. This was well received \nand proved to be influential. It was clear that modern bentwood suited English taste \nand offered an alternative to the coldness of the metal furniture that was then \nin fashion in modernist circles. In 1943, Summers produced this remarkable chair \nwhich, unlike the chairs of Aalto, is composed of a single sheet of bent plywood. \nSummers produced only 120 of these chairs. Today these are rare and sought–after \ncollector’s items. Makers of Simple Furniture Ltd. was forced to close in 1939 \nbecause of British government restrictions on the importation of plywood. \nGerald Summers left furniture manufacturing and opened a factory \nfor the production of ball bearings.\n1899 \nAlexandria, Egypt\n1967  \nFerndown, UK\nEnglish\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.51.png","100\n101\nArt. 514\nMvsevm\nCat. Sedia ⁄ Chair\nDesigned by Gerrit Thomas Rietveld (1934) \nArt. 514 \nL ⁄ W 37 H 74 P ⁄ D 43 cm\nW 14,6” H 29,1” D 16,9”\nArt. 514: Sedia in massello di frassino verniciato a poro aperto.\n⁄ Art. 514: Chair in solid ash, open pore painted.\nGERRIT THOMAS RIETVELD\nSebbene Rietveld cominci a disegnare sedie intorno al 1900, \nil suo primo importante pezzo di design, la sedia Rood ⁄ Blauw \nnon viene prodotta che nel 1918. Fu creata con l’intenzione \ndi dimostrare che un oggetto valido esteticamente può essere \ncostruito a macchina con materiali lineari. La sua severa ed \nangolata geometria e l’uso dei colori primari sono perfettamente \nin armonia con i principi del “De Stijl” anche con design \ntipo la “sedia di Berlino” e la “serie militare”. Il suo design concilia \nla ricerca estetica con il desiderio di utilizzare i vantaggi dati \nda particolari materiali per una produzione economica \ne meccanizzata. Durante tutta la sua carriera sperimenta nuove \ntecniche e nuovi materiali, dalla sedia del 1942, fatta con un \nsolo foglio di alluminio, sino alla sedia “Unesco” del 1958, \ntutta tappezzata di gommapiuma. Rietveld trae l’ispirazione \ndirettamente dal materiale, come uno scultore, “non disegnando \nprogetti a tavolino”.\nMvsevm\nGerrit Thomas Rietveld\nAlthough Rietveld began designing chairs as early as 1900, his first important\ndesign masterpiece the Rood ⁄ Blauw chair was not actually produced until 1918. \nThe aim behind its creation being that of demonstrating that an object of aesthetic \nworth can be machine–made using linear materials. Its severe and angular geometry \nand the use of primary colours being perfectly in line with the principles of the\n⁄ “De Stijl” ⁄ even with designs such as the ⁄ “Berlin chair” ⁄ and the ⁄ “Military series”. \nHis designs featuring a blend of painstaking aesthetic research and the desire \nto take full advantage of particular materials for a truly economic and mechanized \nproduction. He was involved in the experimentation of new techniques and new \nmaterials throughout his career, from the chair dated 1942, made of a single \naluminium sheet, to the “Unesco” chair dated del 1958, that was fully upholstered\nin foam rubber. Rietveld in fact acquired his inspiration directly from the material,\nin the same way as a sculptor, “and not starting from the drawing board”.\n1888 \nUtrecht, Netherlands\n1964  \nUtrecht, Netherlands\nEnglish\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.52.png","102\n103\nMvsevm\nCat. Sedia ⁄ Chair\nArt. 704\nDesigned by Harry Bertoia (1952) \nArt. 704 \nL ⁄ W 54 H 78 P ⁄ D 52 cm\nW 21,2” H 30,7” D 20,5”\nArt. 704: Sedia con struttura in tondino di acciaio cromato o laccato e saldato, \ncuscino imbottito mobile. ⁄ Art. 704: Chair with frame in welded steel wire,\nchrome–plated or painted. Upholstered seat pad.\nHARRY BERTOIA\nBertoia ha lasciato l’Italia a quindici anni. A Detroit ha studiato \nscultura e pittura all’Institute of Technology. Nel 1937 è diventato \ndocente alla Detroit School of Arts and Crafts e alla Cranbrook \nAcademy of Arts. Negli anni ’40 ha iniziato a cimentarsi con \nil disegno di mobili. Egli ha visto la sedia anche come una scultura, \ndando una grande importanza ai colori e alle caratteristiche \ndel metallo. Le sue sedie sono oggi famose in tutto il mondo.\nMvsevm\nHarry Bertoia\n1915 \nSan Lorenzo, Italy\n1978  \nBarto, USA\nBertoia left Italy at the age of 15. He studied sculpture and painting at the\nInstitute of Technology in Detroit. He became a teacher at the Detroit School \nof Arts and Crafts and at the Cranbrook Academy of Arts in 1937. He became \ninvolved in furniture design in the 40’s. He perceived the chair as a sculpture, \ngiving importance to the intrinsic colours and features of the metal. \nHis chairs are today renowned the world over.\nEnglish\n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.53.png","104\n105\nDesigned by Harry Bertoia (1952)\nArt. 705 \nL ⁄ W 82 H 75 P ⁄ D 72 cm\nW 32,3” H 29,5” D 28,3”\nArt. 705: Poltroncina con struttura in tondino di acciaio cromato o laccato \ne saldato, cuscino imbottito mobile. ⁄ Art. 705: Armchair with frame in welded \nsteel wire, chrome–plated or painted. Upholstered seat pad.\nMvsevm\nCat. Poltroncina ⁄ Armchair\nArt. 705\nMvsevm\nHarry Bertoia\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.54.png","106\n107\nMvsevm\nCat. Poltroncina ⁄ Armchair\nMvsevm\nHarry Bertoia\nArt. 705\n",54,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.55.png","108\n109\nDesigned by Harry Bertoia (1952)\nArt. 706 L ⁄ W 54 H 96–106 P ⁄ D 56,5 cm\nW 21,2” H 37,8”–41,7” D 22,2”\nArt. 706: Sgabello con struttura in tondino di acciaio cromato o laccato e saldato,\ncuscino imbottito mobile. ⁄ Art. 706: Bar stool with frame in welded steel wire,\nchrome–plated or painted. Upholstered seat pad.\nMvsevm\nCat. Sgabello ⁄ Stool\nArt. 706 \nMvsevm\nHarry Bertoia\n",55,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.56.png","110\n111\nArt. 709\nMvsevm\nCat. Tavolino ⁄ Coffee table\nDesigned by Isamu Noguchi (1944)\nArt. 709 \nL ⁄ W 128,5 H 40 P ⁄ D 92,5 cm\nW 50,6” H 15,7” D 36,4”\nArt. 709: Tavolino con base in frassino laccato nero, tinto ciliegio, noce \no termotrattato. Piano in cristallo. ⁄ Art. 709: Coffee table. Base in ashwood \nin black, cherry, walnut or heat–treated stained. Top in plate glass.\nISAMU NOGUCHI\nIsamu Noguchi nasce il 17 novembre 1904 a Los Angeles da Leonie \nGilmour, scrittrice americana di origine irlandese e Yonejiro (Yone) \nNoguchi, poeta giapponese. “Tutto è scultura. Ogni materiale, \nogni idea che nasce senza ostacoli nello spazio, la considero \nscultura. Il confine era in un certo senso l’inizio e conteneva tutti \ngli elementi della percezione dello spazio, del volume dello spazio: \npercezione del volume non solo bi–dimensionale, ma dello spazio \ntri–dimensionale del teatro. E questo è il modo in cui condussi \ntutto il mio lavoro.” \nMvsevm\nIsamu Noguchi\nIsamu Noguchi was born on 17th November 1904 in Los Angeles the son of\nLeonie Gilmour, an American writer of Irish origin and Yonejiro (Yone) Noguchi, \na Japanese poet. “Everything is sculpture. Every material, each idea that is freely \nborn in space, I consider to be sculpture. The boundary being in a certain way, \nperceived as the starting point embodying all the elements of space perception \nand volume: a perception of volume that is not only bi–dimensional, but a \nthree–dimensional. This is the manner in which I have carried out all my work.”\n1904 \nLos Angeles, USA \n1988  \nNew York, USA\nEnglish\n",56,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.57.png","112\n113\nDesigned by Isamu Noguchi (1944–49) \nArt. 799 \n L ⁄ W 130 H 41 P ⁄ D 92 cm\nW 51,2” H 16,1” D 36,2”\nArt. 799: Tavolino in frassino laccato nero, tinto ciliegio, noce o termotrattato, \ncomposto da una gamba in legno e due gambe in trafilato d’acciaio cromato \no laccato. ⁄ Art. 799 : Coffee table in black lacquered, cherry, walnut or heat–treated \nstain ash wood, with one leg in wood and two legs in chrome–plated or painted \nsteel.\nMvsevm\nCat. Tavolino ⁄ Coffee table\nArt. 799\nMvsevm\nIsamu Noguchi\n",57,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.58.png","114\n115\nMvsevm\nCat. Tavolo ⁄ Table\nDesigned by Isamu Noguchi (1954) \nArt. 729 \n Ø 80–90–120 H 72 cm\nØ 31,5”–35,4”–47,2” H 28,3”\nArt. 729: Tavolo con base in ghisa laccata nera, fusto in tondino di acciaio cromato \no laccato. Piano in multistrato ricoperto di laminato nero o bianco o in cristallo \nspessre 1,2 cm. ⁄ Art. 729: Table with black–painted cast iron base; column \nin chrome–plated or painted steel wires. Top in plywood covered with black \nor white laminate or in glass 1,2 cm thick.\nArt. 729 \nMvsevm\nIsamu Noguchi\n",58,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.59.png","116\n117\nMvsevm\nCat. Divano, Pouf ⁄ Sofa, Ottoman\nArt. 722, Art. 726 \nDesigned by Isamu Noguchi (1946) \nArt. 722 \nL ⁄ W 245 H 74 P ⁄ D 119 cm\nArt. 726 \nL ⁄ W 135 H 48,5 P ⁄ D 81 cm\nW 96,4” H 29,1” D 46,8”\nW 53,1” H 19” D 31,9”\nArt. 722, Art. 726: Divano e pouf in multistrato di pioppo e profilato di acciaio \nricoperto di gomma poliuretanica e fodera in fibra di poliestere. Rivestimento \nin pelle o tessuto, sfoderabile. Piedini in faggio naturale o laccato. \n⁄ Art. 722, Art. 726: Sofa and ottoman in poplar plywood and steel profiles \ncovered with polyurethane foam and polyester fiber lining. Removable leather \nor fabric cover. Feet in natural or painted beech.\nMvsevm\nIsamu Noguchi\n",59,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.60.png","118\n119\nArt. 621\nMvsevm\nCat. Poltrona ⁄ Armchair\nDesigned by Josef Hoffmann (1911) \nArt. 621 \n L ⁄ W 92 H 97 P ⁄ D 73 cm\nW 36,2” H 38,2” D 28,7”\nArt. 621: Poltrona con struttura in legno ricoperto in gomma poliuretanica e\ndacron. Rivestimento in velluto o pelle, bordi in passamaneria (bianco – nero \no stesso colore del velluto – pelle). Non sfoderabile. ⁄ Art. 621: Armchair with frame \nin wood, covered with polyurethane foam and dacron. Velvet or leather covers \nwith edging trims in braid (white – black or same colour as the velvet – leather).\nNon–removable covers.\nJOSEF HOFFMANN\nJosef Hoffmann fu uno dei co–fondatori nel 1897 della\n“Vienna Secession”, e nel 1903 della “Wiener Werkstatte”. \nIl lavoro di Hoffmann combinò il razionalismo di Wagner con uno \nstile di decorazioni geometrico e rettilineo, influenzato dal lavoro \ndi Charles Rennie Mackintosh. I disegni di Hoffmann per il \nWerkstatte uniscono così estrema individualità e una grande \nprofessionalità con l’interesse verso la naturalezza dei materiali \ne nei confronti del funzionalismo che caratterizzò tutto \nil suo lavoro.\nMvsevm\nJosef Hoffmann\nJosef Hoffmann was one of the co–founders of the “Vienna Secession” in 1897,\nand of the “Wiener Werkstatte” in 1903. Hoffmann’s work featuring the rationalism \nof Wagner combined with a geometric and linear decorative style, influenced by \nthe work of Charles Rennie Mackintosh. The designs of Hoffmann for the Werkstatte \nthereby featuring extreme individualism and the greatest professionalism with \na particular feel for the natural essence of the materials used and their functional \nqualities which characterized all his output.\n1870 \nBrtnice, Czech Republic \n1956  \nVienna, Austria\nEnglish\n",60,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.61.png","120\n121\nArt. 623\nMvsevm\nCat. Divano ⁄ Sofa\nDesigned by Josef Hoffmann (1911) \nArt. 623 \n L ⁄ W 200 H 97 P ⁄ D 73 cm\nW 78,7” H 38,2” D 28,7”\nArt. 623: Divano a tre posti con struttura in legno ricoperto in gomma\npoliuretanica e dacron. Rivestimento in velluto o pelle, bordi in passamaneria \n(bianco – nero o stesso colore del velluto – pelle). Non sfoderabile.\n⁄ Art. 623: Three–seater sofa with frame in wood, covered with polyurethane\nfoam and dacron. Velvet or leather covers with edging trims in braid \n(white – black or same colour as the velvet – leather). Non–removable covers.\nArt. 622\nMvsevm\nCat. Divano ⁄ Sofa\nDesigned by Josef Hoffmann (1911) \nArt. 622 \n L ⁄ W 158 H 97 P ⁄ D 73 cm\nW 62,2” H 38,2” D 28,7”\nArt. 622: Divano a due posti con struttura in legno ricoperto in gomma \npoliuretanica e dacron. Rivestimento in velluto o pelle, bordi in passamaneria \n(bianco – nero o stesso colore del velluto – pelle). Non sfoderabile.\n⁄ Art. 622: Two–seater sofa with frame in wood, covered with polyurethane\nfoam and dacron. Velvet or leather covers with edging trims in braid \n(white – black or same colour as the velvet – leather). Non–removable covers.\n",61,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.62.png","122\n123\nMvsevm\nCat. Tavolini ⁄ Side tables\nDesigned by Josef Hoffmann (1904)\nArt. 639 \nL ⁄ W 54 P ⁄ D 42,5\n \nH 56–61–66–71 cm\nW 21,3” D 16,7”\nH 22,4”–24,4”–26,4”–28,4”\nArt. 639: Tavolini in gruppo di quattro elementi con struttura in massello\ndi frassino naturale, tinto termotrattato, grigio, nero o bianco a poro aperto.\n⁄ Art. 639: Nest of four side tables made of natural, black, white, grey \nor heat–treated stained solid ash wood, open pore.\nArt. 639\nMvsevm\nJosef Hoffmann\n",62,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.63.png","124\n125\nArt. 632\nMvsevm\nCat. Divano ⁄ Sofa\nDesigned by Josef Hoffmann (1910) \nArt. 632 \n L ⁄ W 162 H 72 P ⁄ D 75 cm\nW 63,8” H 28,3” D 29,5”\nArt. 632: Divano a due posti con struttura in legno ricoperto in gomma \npoliuretanica flessibile a freddo. Rivestimento in pelle e ecopelle non sfoderabile. \n⁄ Art. 632: Two–seater sofa with wooden frame covered with cold shaped \npolyurethane foam. Non–removable leather or eco–leather covers.\nArt. 631\nMvsevm\nCat. Poltrona ⁄ Armchair\nDesigned by Josef Hoffmann (1910) \nArt. 631 \nL ⁄ W 93 H 72 P ⁄ D 75 cm\nW 36,6” H 28,3” D 29,5”\nArt. 631: Poltrona con struttura in legno ricoperto in gomma poliuretanica \nflessibile a freddo. Rivestimento in pelle e ecopelle non sfoderabile. \n⁄ Art. 631: Armchair with wooden frame covered with cold shaped polyurethane \nfoam. Non–removable leather or eco–leather covers.\n",63,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.64.png","126\n127\nMvsevm\nCat. Divano ⁄ Sofa\nArt. 633\nDesigned by Josef Hoffmann (1910) \nArt. 633 \n L ⁄ W 224 H 72 P ⁄ D 75 cm\nW 88,2” H 28,3” D 29,5”\nArt. 633: Divano a tre posti con struttura in legno ricoperto in gomma \npoliuretanica flessibile a freddo. Rivestimento in pelle e ecopelle non sfoderabile. \n⁄ Art. 633: Three–seater sofa with wooden frame covered with cold shaped \npolyurethane foam. Non–removable leather or eco–leather covers.\nMvsevm\nJosef Hoffmann\n",64,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.65.png","128\n129\nArt. 611\nMvsevm\nCat. Poltrona ⁄ Armchair\nDesigned by Jean–Michel Frank (1930) \nArt. 611 \nL ⁄ W 90 H 86 P ⁄ D 89 cm\nW 35,4” H 33,8” D 35”\nArt. 611: Poltrona in legno ricoperto in gomma poliuretanica e fodera in fibra \ndi poliestere. Cuscino seduta in piuma d’oca sterilizzata con inserto in gomma \npoliuretanica. Sfoderabile. Piedini in noce nazionale trattati naturalmente con \nfinitura a cera o laccati. ⁄ Art. 611: Armchair in wood covered with polyurethane \nfoam and polyester fiber lining. Seat cushion in sterilized goose–down with insert\nin polyurethane foam. Removable covers. Feet in painted or wax–polished\nitalian walnut.\nJEAN–MICHEL FRANK\nTra il 1932 ed il 1940, reinventò completamente il vocabolario \ndelle arti decorative. Lavorando a Parigi, New York ed in Sud \nAmerica, Frank fu ispirato dal Neoclassicismo e dall’astrazione \ndelle arti primitive, apportando agli anni ’30 uno stile originale \nla cui eleganza gli fece conquistare l’approvazione di una clientela \nricca ed elitaria. Il suo nome divenne il classico riferimento per \ni collezionisti di arredi del XIX secolo. I principi decorativi che \nsviluppò sono i fondamenti di uno stile minimalista che tutt’oggi \nè molto in voga e continua ad ispirare designers contemporanei.\nMvsevm\nJean–Michel Frank\nJean–Michel Frank was responsible for completely re–inventing the dictionary\nof decorative arts between 1932 and 1940. He worked in Paris, New York and\nSouth America and was inspired by Neoclassicism and the abstraction of primitive \nart. He thereby graced the 1930’s period with an original and highly elegant style \nwhich soon earned him a wealthy and elitist clientele. His name becoming a true \nreference point for 20th century furniture collectors. The decorative principles\nthat he developed forming the basis for a minimalist style which is still popular\ntoday and continues to inspire modern designers.\n1895 \nParis, France \n1941  \nNew York, USA\nEnglish\n",65,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.66.png","130\n131\nArt. 613\nMvsevm\nCat. Divano ⁄ Sofa\nDesigned by Jean–Michel Frank (1930) \nArt. 613 \nL ⁄ W 214 H 86 P ⁄ D 89 cm\nW 84,2” H 33,8” D 35”\nArt. 613: Divano a tre posti in legno ricoperto in gomma poliuretanica e fodera\nin fibra di poliestere. Cuscino seduta in piuma d’oca sterilizzata con inserto in \ngomma poliuretanica. Sfoderabile. Piedini in noce nazionale trattati naturalmente \ncon finitura a cera o laccati. ⁄ Art. 613: Three–seater sofa in wood covered with \npolyurethane foam and polyester fiber lining. Seat cushion in sterilized goose–\ndown with insert in polyurethane foam. Removable covers. Feet in painted or\nwax–polished italian walnut.\nArt. 612\nMvsevm\nCat. Divano ⁄ Sofa\nDesigned by Jean–Michel Frank (1930) \nArt. 612 \nL ⁄ W 150 H 86 P ⁄ D 89 cm\nW 59” H 33,8” D 35”\nArt. 612: Divano a due posti in legno ricoperto in gomma poliuretanica e fodera \nin fibra di poliestere. Cuscino seduta in piuma d’oca sterilizzata con inserto in \ngomma poliuretanica. Sfoderabile. Piedini in noce nazionale trattati naturalmente \ncon finitura a cera o laccati. ⁄ Art. 612: Two–seater sofa in wood covered with \npolyurethane foam and polyester fiber lining. Seat cushion in sterilized goose–\ndown with insert in polyurethane foam. Removable covers. Feet in painted or\nwax–polished italian walnut.\n",66,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.67.png","132\n133\nArt. 602\nMvsevm\nCat. Divano ⁄ Sofa\nDesigned by Jean–Michel Frank (1935) \nArt. 602 \n L ⁄ W 140 H 94 P ⁄ D 80 cm\nW 55,1” H 37” D 31,5”\nArt. 602: Divano a due posti in legno ricoperto in gomma poliuretanica\ne fodera in fibra di poliestere, cuscino seduta in piuma d’oca sterilizzata con inserto \nin gomma poliuretanica. Piedini in legno laccati. ⁄ Art. 602: Two–seater sofa in\nwood covered with polyurethane foam and polyester fiber lining. Seat cushion\nin sterilized goose–down with insert in polyurethane foam. Feet in stained wood.\nArt. 601\nMvsevm\nCat. Poltrona ⁄ Armchair\nDesigned by Jean–Michel Frank (1935) \nArt. 601 \n L ⁄ W 83 H 94 P ⁄ D 80 cm\nW 32,7” H 37” D 31,5”\nArt. 601: Poltrona in legno ricoperto in gomma poliuretanica e fodera in fibra \ndi poliestere, cuscino seduta in piuma d’oca sterilizzata con inserto in gomma \npoliuretanica. Piedini in legno laccati. ⁄ Art. 601: Armchair in wood covered\nwith polyurethane foam and polyester fiber lining. Seat cushion in sterilized\ngoose–down with insert in polyurethane foam. Feet in stained wood.\n",67,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.68.png","134\n135\nMvsevm\nCat. Tavolo da gioco ⁄ Card table\nDesigned by Jean–Michel Frank (1935) \nArt. 619 \nL ⁄ W 90 H 75 P ⁄ D 90 cm\nW 35,4” H 29,5” D 35,4”\nArt. 619: Tavolo da gioco in massello di faggio naturale, tinto ciliegio, noce o nero. \nPiano reversibile double–face con finitura in legno da un lato e rivestito in panno \nverde dall’altro. ⁄ Art. 619: Card table made of solid beechwood available in the \nfollowing finishes: natural or cherry, black or walnut stained. Double–faced top,\none side in wood, one side covered in green cloth.\nArt. 619\nMvsevm\nJean–Michel Frank\n",68,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.69.png","136\n137\nArt. 365\nMvsevm\nCat. Poltrona ⁄ Armchair\nDesigned by Ludwig Mies Van Der Rohe (1929)\nArt. 365 \nL ⁄ W 77 H 88 P ⁄ D 78 cm\nW 30,3” H 34,6” D 30,7”\nArt. 365: Poltrona con struttura in piatto di acciaio cromato; seduta e\nschienale imbottiti. Sospensione con cinghie di cuoio. ⁄ Art. 365: Armchair with \nchrome–plated flat steel frame. Padded seat and back cushions. Hide straps.\nLUDWIG MIES VAN DER ROHE\nFormato nello studio di Peter Behrens e cresciuto negli influssi\ndel De Stijl, nel 1930 Mies Van Der Rohe fu chiamato alla direzione \ndella Bauhaus, succedendo a Annes Meier, che tenne fino alla sua \nchiusura. Non solo autore di costruzioni rivoluzionarie ma anche \ndi mobili di volta in volta ad esse dedicate: alla costruzione del \nsobborgo di Stoccarda “Wessenhof” (1927), all’allestimento del \nPadiglione Tedesco all’Esposizione Internazionale di Barcelona \n(1929), al progetto della Casa Tugendhat a Brno sono legati disegni\ndi sedie e poltrone di estrema raffinatezza ed eleganza.\nMvsevm\nLudwig Mies Van Der Rohe\nMies Van Der Rohe was trained at the studio of Peter Behrens and he flourished \nunder the influence of De Stijl, he was in 1930 nominated as the Director of \nthe Bauhaus, as the successor of Annes Meier, a position that he occupied until \nits closure. He was not only responsible for truly revolutionary building designs, \nbut of the furnishings often conceived for the same. The development of the \nStockholm suburb of “Wessenhof” (1927),the fitting of the German exhibition \nhall at the International Exhibition of Barcelona (1929), the Tugendhat House\nproject in Brno all being characterized by chair and armchair designs of the highly \nrefined elegance.\n1886 \nAachen, Germany \n1969 \nChicago, USA\nEnglish\n",69,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.70.png","138\n139\nMvsevm\nCat. Poltrona, Poggiapiedi ⁄ Armchair, Footrest\nArt. 334, Art. 336\nDesigned by Ludwig Mies Van Der Rohe (1929)\nArt. 334 \nL ⁄ W 75 H 75 P ⁄ D 77 cm\nArt. 336 \nL ⁄ W 54 H 37 P ⁄ D 59 cm\nW 29,5” H 29,5” D 30,3”\nW 21,3” H 14,6” D 23,2”\nArt. 334: Poltrona con struttura in piatto di acciaio cromato; seduta e schienale \nimbottiti. Sospensione con cinghie di cuoio. Art. 336: Poggiapiedi con struttura \nin piatto di acciaio cromato; seduta imbottita. Sospensione con cinghie di cuoio. \n⁄ Art. 334: Armchair with chrome–plated flat steel frame. Upholstered seat \nand back cushions. Hide straps. Art. 336: Footrest with chrome–plated flat\nsteel frame. Upholstered seat cushion. Hide straps.\nMvsevm\nLudwig Mies Van Der Rohe\n",70,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.71.png","140\n141\nMvsevm\nCat. Poltrona, Poggiapiedi ⁄ Armchair, Footrest\nMvsevm\nLudwig Mies Van Der Rohe\nArt. 334, Art. 336\n",71,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.72.png","142\n143\nDesigned by Ludwig Mies Van Der Rohe (1930)\nArt. 345 \nL ⁄ W 58 H 76 P ⁄ D 57 cm\nW 22,8” H 29,9” D 22,4”\nArt. 345: Poltroncina con struttura in tubo d’acciaio piatto cromato o laccato. \nSeduta, schienale e braccioli imbottiti. ⁄ Art. 345: Armchair with painted \nor chrome–plated flat steel frame; upholstered seat, back and arms.\nMvsevm\nCat. Poltroncina ⁄ Armchair\nArt. 345\nMvsevm\nLudwig Mies Van Der Rohe\n",72,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.73.png","144\n145\nMvsevm\nCat. Poltroncina ⁄ Armchair\nArt. 355\nDesigned by Ludwig Mies Van Der Rohe (1930)\nArt. 355 \nL ⁄ W 55 H 79 P ⁄ D 64 cm\nW 21,6” H 31,1” D 25,2”\nArt. 355: Poltroncina con struttura in tubo d’acciaio cromato o laccato. \nSeduta e schienale imbottiti. ⁄ Art. 355: Armchair with chrome–plated or painted \ntubular steel frame. Upholstered seat and back.\nMvsevm\nLudwig Mies Van Der Rohe\n",73,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.74.png","146\n147\nMvsevm\nCat. Letto ⁄ Bed\nArt. 337\nDesigned by Ludwig Mies Van Der Rohe (1930)\nArt. 337 \nL ⁄ W 195,5 H 62 P ⁄ D 97 cm\nW 77” H 24,4” D 38,2”\nArt. 337: Letto con telaio in legno massello verniciato noce, nero o bianco;\ngambe in tubo d’acciaio cromato o laccato. Materasso e poggiatesta in gomma \npoliuretanica e fodera in fibra di poliestere, rivestiti in pelle o tessuto. \nSospensione con cinghie di cuoio. ⁄ Art. 337: Daybed. Frame in solid wood stained \nwalnut, black or white; legs in painted or chrome–plated tubular steel. \nMattress and headrest in polyurethane foam and polyester fiber lining, \ncovered in leather or fabric. Hide straps.\nMvsevm\nLudwig Mies Van Der Rohe\n",74,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.75.png","148\n149\nArt. 315\nMvsevm\nCat. Poltroncina ⁄ Armchair\nDesigned by Ludwig Mies Van Der Rohe (1927)\nArt. 315 \nL ⁄ W 53,5 H 84 P ⁄ D 82,5 cm\nW 21” H 33,1” D 32,5”\nArt. 315: Poltroncina con struttura in tubo di acciaio cromato o laccato; seduta \ne schienale in cuoio o in cavallino. ⁄ Art. 315: Armchair with chrome–plated \nor painted tubular steel frame; seat and back in hide or in cow skin.\nArt. 314\nMvsevm\nCat. Sedia ⁄ Chair\nDesigned by Ludwig Mies Van Der Rohe (1927)\nArt. 314 \nL ⁄ W 47 H 84 P ⁄ D 69 cm\nW 18,5” H 33,1” D 27,2”\nArt. 314: Sedia con struttura in tubo di acciaio cromato o laccato; seduta \ne schienale in cuoio o in cavallino. ⁄ Art. 314: Chair with chrome–plated \nor painted tubular steel frame; seat and back in hide or in cow skin.\n",75,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.76.png","150\n151\nMvsevm\nCat. Sedia, Poltroncina ⁄ Chair, Armchair\nArt. 304, Art. 305\nDesigned by Ludwig Mies Van Der Rohe (1927)\nArt. 304 \nL ⁄ W 47 H 84 P ⁄ D 69 cm\nArt. 305 \nL ⁄ W 53,5 H 84 P ⁄ D 82,5 cm\nW 18,5” H 33,1” D 27,2”\nW 21” H 33,1” D 32,5”\nArt. 304: Sedia con struttura in tubo di acciaio cromato o laccato; seduta \ne schienale in canna naturale intrecciata a mano. Art. 305: Poltroncina con struttura \nin tubo di acciaio cromato o laccato; seduta, schienale e braccioli in canna naturale \nintrecciata a mano. ⁄ Art. 304: Chair in chrome–plated or painted tubular steel; \nseat and back in natural hand– woven cane. Art. 305: Armchair in chrome–plated \nor painted tubular steel; seat, back and arms in natural hand–woven cane.\nMvsevm\nLudwig Mies Van Der Rohe\n",76,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.77.png","152\n153\nMvsevm\nCat. Poltrona ⁄ Armchair\nArt. 325\nDesigned by Ludwig Mies Van Der Rohe (1931)\nArt. 325 \nL ⁄ W 60 H 84 P ⁄ D 92 cm\nW 23,6” H 33” D 36,2”\nArt. 325: Poltrona con struttura in tubo di acciaio cromato o laccato; cuscino\nin gomma poliuretanica, rivestito in pelle o tessuto e fissato su cinghie di cuoio.\n⁄ Art. 325: Armchair in chrome–plated or painted tubular steel; cushion \nin polyurethane foam covered in leather or fabric. Hide straps.\nMvsevm\nLudwig Mies Van Der Rohe\n",77,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.78.png","154\n155\nArt. 317\nDesigned by Ludwig Mies Van Der Rohe (1931–32)\nArt. 317 \nL ⁄ W 60 H 80 P ⁄ D 178 cm\nW 23,6” H 31,5” D 70”\nArt. 317: Poltrona relax con struttura in tubo di acciaio cromato o laccato; cuscino \nin gomma poliuretanica, rivestito in pelle o tessuto e fissato su cinghie di cuoio. \n⁄ Art. 317: Armchair with chrome–plated or painted tubular steel frame. \nCushion in polyurethane foam, covered in leather or fabric. Hide straps.\nMvsevm\nCat. Poltrona ⁄ Armchair\nArt. 324, Art. 316\nDesigned by Ludwig Mies Van Der Rohe (Art. 324, 1931 – Art. 316, 1927)\nArt. 324 \nL ⁄ W 60 H 84 P ⁄ D 88 cm\nArt. 316 \nL ⁄ W 60 H 44 P ⁄ D 61,5 cm\nW 23,6” H 33” D 34,6”\nW 23,6” H 17,3” D 24,2”\nArt. 324: Poltroncina con struttura in tubo di acciaio cromato o laccato; cuscino \nin gomma poliuretanica, rivestito in pelle o tessuto e fissato su cinghie di cuoio. \nArt. 316: Sgabello con struttura in tubo d’acciaio cromato o laccato; cuscino \nin gomma poliuretanica, rivestito in pelle o tessuto e fissato su cinghie di cuoio. \n⁄ Art. 324: Lounge chair with chrome–plated or painted tubular steel frame. \nCushion in polyurethane foam covered in leather or fabric. Hide straps. \nArt. 316: Stool with chrome–plated or painted tubular steel frame. Cushion \nin polyurethane foam covered in leather or fabric. Hide straps.\nMvsevm\nCat. Poltroncina, Sgabello ⁄ Lounge chair, Stool\n",78,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.79.png","156\n157\nMvsevm\nCat. Poltrona ⁄ Lounge chair\nDesigned by Ludwig Mies Van Der Rohe (1931)\nArt. 327 \nL ⁄ W 60 H 95 P ⁄ D 120 cm\nW 23,6” H 37,4” D 47,2”\nArt. 327: Poltrona relax con struttura in tubo di acciaio cromato o laccato; cuscino \nin gomma poliuretanica, rivestito in pelle o tessuto e fissato su cinghie di cuoio. \n⁄ Art. 327: Lounge chair with chrome–plated or painted tubular steel frame. \nCushion in polyurethane foam, covered in leather or fabric. Hide straps.\nArt. 327\nMvsevm\nLudwig Mies Van Der Rohe\n",79,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.80.png","158\n159\nArt. 319\nMvsevm\nCat. Tavolino ⁄ Side table\nDesigned by Ludwig Mies Van Der Rohe (1927)\nArt. 319 \nØ 71,5 H 52,5 cm\nØ 28,1” H 20,7”\nArt. 319: Tavolino con struttura in tubo di acciaio cromato o laccato. \nPiano in cristallo spessore 1,2 cm. ⁄ Art. 319: Side table with frame in chrome–plated \nor painted tubular steel. Plate glass top, 1,2 cm thick.\nArt. 309\nMvsevm\nCat. Tavolino ⁄ Coffee table\nDesigned by Ludwig Mies Van Der Rohe (1930)\nArt. 309 \nL ⁄ W 102 H 46 P ⁄ D 102 cm\nW 40,2” H 18,1” D 40,2”\nArt. 309: Tavolino con struttura in trafilato piatto di acciaio cromato. \nPiano in cristallo spessore 1,2 cm. ⁄ Art. 309: Coffee table in chrome–plated \nflat steel. Plate glass top 1,2 cm thick.\n",80,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.81.png","160\n161\nMvsevm\nCat. Poltrona ⁄ Armchair\nDesigned by Marcel Breuer (1925)\nArt. 135 \nL ⁄ W 79 H 72 P ⁄ D 70 cm\nW 31,1” H 28,3” D 27,6”\nArt. 135: Poltrona con struttura in tubo di acciaio cromato o laccato. Sedile, \nschienale e braccioli in cuoio, in cavallino o canapa pesante accoppiata al cuoio.\n⁄ Art. 135: Armchair with chrome–plated or painted tubular steel frame. \nSeat, back and arms in hide, cow skin or in canvas combined with hide.\nArt. 135\nMARCEL BREUER\nFra i più importanti disegnatori di mobili, divenne, da autodidatta, \nuno dei più importanti architetti della sua generazione. Nel 1925, \nmentre dirige “l’officina del mobile Bauhaus”, progetta e realizza \nla prima sedia in tubolare d’acciaio. Marcel Breuer è uno dei \ngrandi pionieri nel design di sedie in acciaio tubolare e, già nel \n1925, inventa una serie di sistemi per utilizzare il tubo di acciaio \nper strutture di sedie, sgabelli e tavoli. La sua “Wassily” è stata \nla prima sedia in acciaio tubolare ed è un classico del design \nmoderno.\n1902 \nPécs, Hungary\n1981  \nNew York, USA\nOne of the most important furniture designers, he was self–taught, and became \none of the most significant architects of his generation. He designed and created \nthe first tubular steel chair in 1925, whilst he was director of the “Bauhaus furniture \nworkshop”. Marcel Breuer is one of the great pioneers of tubular steel chair design, \nand, as early as 1925, he invented a series of systems using tubular steel in the \nconstruction of chairs, stools and tables. His “Wassily” chair was the first tubular \nsteel chair and has become a modern design classic. \nEnglish\nMvsevm\nMarcel Breuer\n",81,{"image":338,"text":339,"number":340},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.82.png","162\n163\nMvsevm\nCat. Poltrona ⁄ Armchair\nArt. 135\nMvsevm\nMarcel Breuer\n",82,{"image":342,"text":343,"number":344},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.83.png","164\n165\nMvsevm\nCat. Poltrona ⁄ Armchair\nArt. 135\nMvsevm\nMarcel Breuer\n",83,{"image":346,"text":347,"number":348},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.84.png","166\n167\nArt. 137\nMvsevm\nCat. Sdraio ⁄ Lounge chair\nDesigned by Marcel Breuer (1935–36)\nArt. 137 \nL ⁄ W 65,5 H 81 P ⁄ D 141 cm\nW 25,8” H 31,9” D 55,5”\nArt. 137: Sdraio con struttura in acero curvato, naturale o laccato a poro chiuso\nin vari colori. Seduta imbottita. ⁄ Art. 137: Lounge chair in curved maple wood, \nnatural or closed pore, painted in differen colours. Upholstered seat.\nArt. 109 ⁄ 1 ⁄ 2\nMvsevm\nCat. Tavolini ⁄ Coffee tables\nDesigned by Marcel Breuer (1925–26)\nArt. 109 ⁄ 1 \nL ⁄ W 55 H 45 P ⁄ D 48 cm\nArt. 109 ⁄ 2 L ⁄ W 136 H 34 P ⁄ D 48 cm\nW 21,6” H 17,7” D 18,9”\nW 53,5” H 13,4” D 18,9”\nArt. 109 ⁄ 1 ⁄ 2: Tavolini con struttura in tubo d’acciaio cromato o laccato. \nPiano in laminato bianco o nero. ⁄ Art. 109 ⁄ 1 ⁄ 2: Coffee tables with chrome–plated \nor painted tubular steel frame. Black or white laminate top.\n",84,{"image":350,"text":351,"number":352},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.85.png","168\n169\nMvsevm\nCat. Sdraio ⁄ Lounge chair\nArt. 137\nMvsevm\nMarcel Breuer\n",85,{"image":354,"text":355,"number":356},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.86.png","170\n171\nMvsevm\nCat. Carrello ⁄ Serving cart\nDesigned by Marcel Breuer (1929)\nArt. 149 \nL ⁄ W 110 H 80 P ⁄ D 51 cm\nW 43,3” H 31,5” D 20”\nArt. 149: Carrello con struttura in tubo d’acciaio cromato. Piani in laminato \npressurizzato bianco o nero. Il movimento della ruota anteriore può determinare \nuna leggera inclinazione del piano. ⁄ Art. 149: Serving cart with chrome–plated \ntubular steel frame. Tops in black or white pressurized laminate. The motion \nof the front wheel may cause a slight inclination of the surface.\nArt. 149\nMvsevm\nMarcel Breuer\n",86,{"image":358,"text":359,"number":360},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.87.png","172\n173\nMvsevm\nCat. Sedia, Poltroncina ⁄ Chair, Armchair\nArt. 104, 105\nDesigned by Marcel Breuer (1928)\nArt. 104 \nL ⁄ W 47 H 77,5 P ⁄ D 56 cm\nArt. 105 \nL ⁄ W 60 H 77,5 P ⁄ D 56 cm\nW 18,5” H 30,5” D 22”\nW 23,6” H 30,5” D 22”\nArt. 104, 105: Sedia e poltroncina con struttura in tubo di acciaio cromato \no laccato. Sedile e schienale in paglia di Vienna. Bordo e braccioli in faggio naturale, \nlaccato nero o bianco. ⁄ Art. 104, 105: Chair and armchair in chrome–plated \nor painted tubular steel, seat and back in straw. Arms and edge in natural beech\nor black or white painted beech.\nMvsevm\nMarcel Breuer\n",87,{"image":362,"text":363,"number":364},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.88.png","174\n175\nArt. 124, 125 \nMvsevm\nCat. Sedia, Poltroncina ⁄ Chair, Armchair\nDesigned by Marcel Breuer (1928)\nArt. 124 \nL ⁄ W 47 H 77,5 P ⁄ D 56 cm\nArt. 125 \nL ⁄ W 60 H 77,5 P ⁄ D 56 cm\nW 18,5” H 30,5” D 22”\nW 23,6” H 30,5” D 22”\nArt. 124, 125: Sedia e poltroncina con struttura in tubo di acciaio cromato o laccato, \nsedile e schienale imbottiti con bordo in faggio naturale, laccato nero o bianco.\n⁄ Art. 124, 125: Chair and armchair in chrome–plated or painted tubular steel. \nPadded seat and back with natural, black or white painted beechwood edge.\nArt. 114, 115\nMvsevm\nCat. Sedia, Poltroncina ⁄ Chair, Armchair\nDesigned by Marcel Breuer (1928)\nArt. 114 \nL ⁄ W 47 H 77,5 P ⁄ D 56 cm\nArt. 115 \nL ⁄ W 60 H 77,5 P ⁄ D 56 cm\nW 18,5” H 30,5” D 22”\nW 23,6” H 30,5” D 22”\nArt. 114, 115: Sedia e poltroncina con struttura in tubo di acciaio cromato o laccato. \nSedile e schienale imbottiti. ⁄ Art. 114, 115: Chair and armchair in chrome–plated \nor painted tubular steel. Padded seat and back.\n",88,{"image":366,"text":367,"number":368},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.89.png","176\n177\nMvsevm\nCat. Libreria ⁄ Bookcase\nDesigned by Marcel Breuer (1930–31)\nArt. 110 ⁄ 4 \nL ⁄ W 165 H 142 P ⁄ D 35 cm\nArt. 110 ⁄ 5 \nL ⁄ W 165 H 177 P ⁄ D 35 cm\nW 65” H 55,9” D 13,8”\nW 65” H 69,7” D 13,8”\nArt. 110 ⁄ 4 ⁄ 5: Libreria a 4 o 5 ripiani con struttura in tubolare d’acciaio cromato. \nPiani in rovere naturale, tinto termotrattato, grigio o nero o in MDF con verniciatura \ngoffrata antigraffio nera o bianca. ⁄ Art. 110 ⁄ 4 ⁄ 5: Bookcase with 4 or 5 shelves, \nin chrome–plated tubular steel. Shelves in natural oak, in grey, black or heat–treated \npainted oak or in black or white embossed scratchproof painted MDF.\nArt. 110 ⁄ 4 ⁄ 5\nMvsevm\nMarcel Breuer\n",89,{"image":370,"text":371,"number":372},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.90.png","178\n179\nArt. 499\nMvsevm\nCat. Scrivania ⁄ Desk\nDesigned by Maxime Old (Circa ⁄ Around 1938) \nArt. 499 \nL ⁄ W 210 H 77 P ⁄ D 80 cm\nW 82,7” H 30,3” D 31,5”\nArt. 499: Scrivania con due cassetti in MDF impiallacciato ciliegio con bordi\nin massello. ⁄ Art. 499: Desk with two drawers. Top with a cherry veneer. \nEdges in solid wood.\nMvsevm\nMaxime Old\nMaxime Old was born on 13th December 1910 in Maisons–Alfort. Maxime Old,\nthe son and nephew of cabinet–maker, former pupil of the Boulle School, had a deep \npassion for wood, his creations being conceived as sculpture, so that his furnishings \nare free of decorations or ornaments. He truly learnt the secrets of this fine craft, \nto which he adds the expressive value of a great technique. He learnt his lesson \nwell from Ruhlmann, so that following his fine example he came to understand \nthe fundamental importance of functionalism, which is able to conceal itself \nin the purity of the forms and the delicacy of the styling. Maxime Old both studied \nand created a series of small dressing tables, feminine desks with a series of delicate \ncombinations, dressmaker’s tables, as well as reading desks, according to specific \norder requirements or for presentation for which he proved skilled in achieving \na series of rational, brilliant and pleasing solutions. He is not considered as being \nan actual furniture technician, except in the odd exceptional case, but proved \ncapable of forming a rapport with the interior design sphere, giving a wide scope\nfor paintings, tapestries and objects that truly personalize the environment.\n1910 \nMaisons–Alfort, France\n1991  \nParis, France\nEnglish\nMAXIME OLD\nMaxime Old è nato il 13 dicembre 1910 a Maisons–Alfort. Maxime \nOld, figlio e nipote di ebanista, ex allievo della Scuola Boulle ha \nuna passione per il legno e concepisce i suoi mobili senza decori o \nornamenti, come uno scultore. Ha imparato a conoscere i segreti \ndi questo bel mestiere e sa perfettamente giocare con il valore \nespressivo di una tecnica. Con Ruhlmann, del quale ha saputo \nricordare l’ammirabile e esemplare lezione, ha capito la necessità \nprimaria di un funzionalismo che deve farsi dimenticare dalla \npurezza delle forme e la sensibilità delle linee. Maxime Old studia \ne realizza con piacere dei piccoli mobili per parrucchiere, scrivanie \nda signora con multiple e deliziose combinazioni, tavolini da \nsarta, leggii, conformi alle richieste precise di ordine oppure di \npresentazione per i quali trova delle soluzioni razionali, ingegnose \ne piacevoli. Non si concepisce tanto come tecnico del mobile \ntranne per qualche eccezione particolare, isolate ma in rapporto \ncon i pezzi di cui dirige l’architettura interna riservando un vasto \nposto ai dipinti, arazzi, oggetti che umanizzano l’ambiente.\n",90,{"image":374,"text":375,"number":376},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.91.png","180\n181\nMvsevm\nCat. Scrivania ⁄ Desk\nMvsevm\nMaxime Old\nArt. 499\n",91,{"image":378,"text":379,"number":380},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.92.png","182\n183\nArt. 144, Art. 165\nMvsevm\nCat. Sedia, Poltroncina ⁄ Chair, Armchair\nDesigned by Mart Stam (1926) \nArt. 144 \nL ⁄ W 47 H 86 P ⁄ D 62 cm\nArt. 165 \nL ⁄ W 55 H 80 P ⁄ D 56 cm\nW 18,5” H 33,9” D 24,4”\nW 21,7” H 31,5” D 22”\nArt. 144, 165: Sedia e poltroncina con struttura in tubo d’acciaio cromato\no laccato; seduta e schienale in cuoio con lacci (Art. 144) o cucito (Art. 165).\n⁄ Art. 144, 165: Chair and armchair in chrome–plated or painted tubular steel; seat \nand back in hide with laces (Art. 144) or white stitching (Art. 165).\nMART STAM\nMembro d’onore della Bauhaus nel 1928, è direttore \ndell’Amsterdam Institute of Applied Art dal 1939 al 1948, \ndel Dresden Akademie der Bildenden Kunste dal 1948 al 1950, \ndel Kunstakademie Berlin–Weissensee dal 1950 al 1953. La fama \ndi Mart Stam come designer di sedie è legata quasi esclusivamente \nad un disegn, l’S 33, che fu la prima “sedia cantilever” in acciaio \ntubolare. L’idea era originata da una sedia costruita per sua moglie, \ncostituita da barre di tubo per gas e raccordi a “L”, che egli \ndescrive ai suoi collaboratori alla conferenza preliminare della \nStuttgart Weissenhofsiedlung nel novembre del 1926.\nMvsevm\nMart Stam\nStam was a honorary member of the Bauhaus in 1928, and was director of the \nAmsterdam Institute of Applied Art from 1939 to 1948, of the Dresden Akademie der \nBildenden Kunste from 1948 to 1950, and of the Kunstakademie Berlin–Weissensee \nfrom 1950 to 1953. Stam shot to fame as a chair designer almost exclusively \nas the result of one design, his – S 33 – which was the first “cantilever chair” made \nof tubular steel. The original ideal being based on a chair that he built for his wife, \nmade of gas piping sections and “L” shaped fittings, which he described at the \npreliminary conference of the Stuttgart Weissenhofsiedlung in November 1926.\n1899 \nPurmerend, Netherlands \n1986  \nZurich, Switzerland\nEnglish\n",92,{"image":382,"text":383,"number":384},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.93.png","184\n185\nArt. 480\nDesigned by Otto Blümel (Circa ⁄ Around 1910) \nArt. 480 \nØ 50 H 180 cm\nØ 19,7” H 70,9”\nArt. 480: Appendiabiti in ottone cromato.\n⁄ Art. 480: Coat hanger in chrome–plated brass.\nMvsevm\nCat. Appendiabiti ⁄ Coat hanger\nOTTO BLÜMEL\nNato a Augsburg, Otto Blümel studiò architettura al “Munich’s \ntechnical university”. In seguito cambiò indirizzo dedicandosi alla \npittura e frequentò la famosa scuola “Debitzsch”. Dal 1907 al 1914 \nfu a capo del dipartimento design del “Vereinigte Werkstätten \nfür Kunst im Handwerk” a Monaco, che all’epoca dettava le ultime \ntendenze dell’architettura di interni e d’arredamento. I disegni dei \nsuoi mobili dell’epoca sono ancora attuali. Proprio a quell’epoca \nrisale l’appendiabiti in acciaio cromato con i caratteristici \nbulloncini a vista.\nBorn in Augsburg, Otto Blümel studied architecture at “Munich’s technical \nuniveristy”. He later changed to painting where he attended the wellknown \n“Debitzsch” school. From 1907 to 1914 he was head of design departement of \n“Vereinigte Werkstätten für Kunst im Handwerk”, Munich who at the time where \ntrends–setters for interior decoration and architecture. His furniture designs from \nthat time are still up–to–date. Just from that time is dated back this coat–tree\nwith chromed steel frame with the characteristics screws–bolts at sight.\n1881 \nAugsburg, Germany\n1973  \nGarmisch–Partenkirchen, Germany\nEnglish\nMvsevm\nOtto Blümel\n",93,{"image":386,"text":387,"number":388},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.94.png","186\n187\nMvsevm\nCat. Poltroncina ⁄ Armchair\nArt. 185\nDesigned by Oliver Percy Bernard (1930) \nArt. 185 \nL ⁄ W 53,5 H 75,5 P ⁄ D 61 cm\nW 21” H 29,7” D 24”\nArt. 185: Poltroncina con struttura in tubo d’acciaio cromato o laccato, sedile \ne schienale imbottiti. ⁄ Art. 185: Armchair in chrome–plated or painted tubular steel. \nPadded seat and back.\nOLIVER PERCY BERNARD\nArchitetto, scenografo, graphic e industrial designer, Oliver \nPercy Bernard ebbe un ruolo determinante nel guidare il gusto \nconservatore britannico verso il modernismo europeo e l’Art Déco.\nFiglio di un direttore artistico e di un’attrice, respirò l’atmosfera \ndel teatro fin da bambino e iniziò la sua carriera proprio come \nscenografo, lavorando tra New York e Boston prima di tornare a \nLondra alla Royal Opera House. Dopo la guerra iniziò a interessarsi \nal mondo dell’industria e della decorazione. Consulente \ndel governo britannico per le esposizioni internazionali, divenne \ndirettore artistico della catena di ristoranti e hotel J. Lyons\nand Co., occupandosi tra le altre cose della progettazione \ndi mobili e di interior design. \nMvsevm\nOliver Percy Bernard\nArchitect, set designer and graphic and industrial designer, Oliver Percy Bernard \nplayed a decisive role in guiding the conservative British taste towards European \nmodernism and Art Deco. The son of an art director and an actress, he breathed the \natmosphere of the theatre as a child and began his career as a set designer, working \nin New York and Boston before returning to London at the Royal Opera House.\nAfter the war, he began to take an interest in the world of industry and decoration.\nA consultant to the British government for international exhibitions, he became \nartistic director of the restaurant and hotel chain J. Lyons and Co., focusing \non furniture and interior design, amongst other things.\n1881 \nCamberwell, London, UK\n1939  \nLondon, UK\nEnglish\n",94,{"image":390,"text":391,"number":392},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.95.png","188\n189\nArt. 671\nMvsevm\nCat. Poltrona ⁄ Armchair\nDesigned by Pierre Chareau (1924–27) \nArt. 671 \nL ⁄ W 82 H 123 P ⁄ D 77,5 cm\nW 32,3” H 48,2” D 30,5”\nArt. 671: Poltrona a schienale alto con struttura in legno ricoperta in gomma \npoliuretanica e fodera in fibra di poliestere. Rivestimento in velluto monocolore \no bicolore. ⁄ Art. 671: High back armchair with wooden–frame upholstered with \npolyurethane foam and polyester fiber lining. Covered with velvet in mono\nor bicolour.\nPIERRE CHAREAU\nL’architetto e designer francese Pierre Chareau giunse per \nla prima volta al pubblico attraverso il lavoro che egli esibì \nal Salone d’Autunno e alla Società d’Artisti–Decoratori dopo la \nprima Guerra Mondiale. Egli contribuì allo studio dell’Ambasciata \nFrancese esibito a Parigi nel 1925 e, successivamente, divise \nil suo tempo tra forniture di design e lavori d’architettura, quali \nil Beauvallon Golf Club (1927), l’interno del Grand Hotel De Tours \n(1929) e la sua “Maison de Verre” (1928–31), così chiamata \nper l’uso innovativo di tegole in vetro all’esterno. Fu membro \ndell’Unione degli Artisti Moderni fin dalla sua fondazione nel \n1930. I suoi designi per sedie, sgabelli, tavoli e armadi di legno e \nmetallo ricevettero molti elogi dalle pubblicazioni contemporanee \nper il loro approccio funzionale e la combinazione d’eleganza\ne abilità tecnica.\nThe french architect and designer Pierre Chareau first captured the attention of the \npublic with a work that he exhibited at the Autumn Show and the Artist–Decorator’s \nsociety in the years immediately after the First World War. He also worked on the \ndesign of the French Embassy building that was exhibited in Paris in 1925 and, \nsubsequently, divided his time between design and architectural work, such as \nthe Beauvallon Golf Club (1927), the interior of the Grand Hotel De Tours (1929) \nand his “Maison de Verre” (1928–31), so–called because of the innovative use of \nexternal glass tiles. He was a member of the Union of Modern Artists right from its \nfoundation in 1930. His wooden and metal chair, stool, table and cupboard designs, \nwhere greatly praised by the publications of the time for their functional approach \nand the studied combination of elegance and technical brilliance.\n1883 \nBordeaux, France\n1950  \nNew York, USA\nEnglish\nMvsevm\nPierre Chareau\n",95,{"image":394,"text":395,"number":396},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.96.png","190\n191\nMvsevm\nCat. Poltrona ⁄ Armchair\nArt. 671\nMvsevm\nPierre Chareau\n",96,{"image":398,"text":399,"number":400},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.97.png","192\n193\nArt. 669, Art. 699, Art. 679\nMvsevm\nCat. Tavolini ⁄ Side tables\nDesigned by Pierre Chareau (Art. 669, Art. 679, 1932 – Art. 699, 1929) \nArt. 669 \nØ 68,5 H 62,5 cm\nArt. 699 \nØ 65 H 66 cm\nArt. 679 \nØ 64 H 59,5 cm\nØ 27” H 24,6”\nØ 25,6” H 26”\nØ 25,2” H 23,4”\nArt. 669: Tavolino con struttura in tubo di acciaio laccato o cromato. Piano in\nvetro, spessore 1,2 cm. Art. 699: Tavolino laccato grigio martellato o nero con base \ne piani in lamina di ferro, stelo in tubolare di acciaio. Art. 679: Tavolino con struttura \nin tubo di acciaio laccato, piano in vetro, spessore 1,5 cm. ⁄ Art. 669: Side table \nwith painted or chrome–plated tubular steel frame. Glass top 1,2 cm thick. \nArt. 699: Side table with top and base in metal sheet, rod in tubular steel, painted \nin hammered grey or black. Art. 679: Side table in painted tubular steel, glass top \n1,5 cm thick.\nArt. 662\nMvsevm\nCat. Divano ⁄ Sofa\nDesigned by Pierre Chareau (1923) \nArt. 662 \nL ⁄ W 194 H 71 P ⁄ D 82 cm\nW 76,4” H 27,9” D 32,2”\nArt. 662: Divano a due posti con struttura in legno ricoperta in gomma \npoliuretanica e fodera in fibra di poliestere. Rivestimento in velluto monocolore \no bicolore. ⁄ Art. 662: Two–seater sofa with wooden–frame upholstered with \npolyurethane foam and polyester fiber lining. Covered with velvet in mono\nor bicolour.\n",97,{"image":402,"text":403,"number":404},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.98.png","194\n195\nArt. 425\nMvsevm\nCat. Poltroncina ⁄ Armchair\nDesigned by René Herbst (1930) \nArt. 425 \nL ⁄ W 64 H 87 P ⁄ D 55 cm\nW 25,2” H 34,3” D 21,7”\nArt. 425: Poltroncina con struttura in tubo di acciaio cromato o laccato.\nSeduta, schienale e braccioli con corde elastiche ricoperte di cotone nero.\n⁄ Art. 425: Armchair with chrome–plated or painted tubular steel frame. \nSeat, back and arms in rubber spring cords with a black cotton covering.\nRENÉ HERBST\nNegli anni venti René Herbst fu tra i primi a sperimentare \nl’uso dell’acciao nell’arredo. Herbst si formò a Londra e nel \n1921 partecipò per la prima volta al Salon d’Automne. Nel 1924 \npresentò al Salon des Artistes Dècorateurs una sala da pranzo \nin bassorilievo. L’anno seguente, realizzò i primi mobili in tubo \nd’acciaio. Nel 1930 fu tra i fondatori della “Union des Artistes \nModernes”.\nIn the 1920s, René Herbst was a pioneer in the use of steel furniture. \nThe early experiences were in London. In 1921 partecipated for the first time \nat the Salon d’Automne. In 1924 he presented a dining room with bass–relief \ndecorations in the Salon des Artistes Dècorateurs. In 1930 he was among \nthe founders of the “Union des Artistes Modernes”.\n1891 \nParis, France\n1982  \nParis, France\nEnglish\nMvsevm\nRené Herbst\n",98,{"image":406,"text":407,"number":408},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.99.png","196\n197\nArt. 414\nMvsevm\nCat. Sedia ⁄ Chair\nDesigned by René Herbst (1930) \nArt. 414 \nL ⁄ W 42 H 81 P ⁄ D 50 cm\nW 16,5” H 31,9” D 19,7”\nArt. 414: Sedia con struttura in tubo di acciaio cromato o laccato; \nseduta e schienale con corde elastiche ricoperte di cotone nero. \n⁄ Art. 414: Chair in chrome–plated or painted tubular steel. \nSeat and back in rubber spring cords with a black cotton covering.\nArt. 424\nMvsevm\nCat. Sedia ⁄ Chair\nDesigned by René Herbst (1928) \nArt. 424 \nL ⁄ W 53 H 95,5 P ⁄ D 48 cm\nW 20,9” H 37,6” D 18,9”\nArt. 424: Sedia con struttura in tubo di acciaio cromato o laccato. \nSeduta e schienale con corde elastiche ricoperte di cotone nero. \n⁄ Art. 424: Chair in chrome–plated or painted tubular steel. \nSeat and back in rubber spring cords with a black cotton covering.\n",99,{"image":410,"text":411,"number":412},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.100.png","198\n199\nMvsevm\nCat. Poltroncina ⁄ Armchair\nDesigned by René Herbst (1931) \nArt. 445 \nL ⁄ W 71 H 75 P ⁄ D 56 cm\nW 28” H 29,5” D 22”\nArt. 445: Poltroncina con struttura in tubo di acciaio cromato o laccato;\nseduta, schienale e braccioli con corde elastiche ricoperte di cotone nero.\n⁄ Art. 445: Armchair in chrome–plated or painted tubular steel. \nSeat, back and arms in rubber spring cords with a black cotton covering.\nArt. 445\nMvsevm\nRené Herbst\n",100,{"image":414,"text":415,"number":416},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.101.png","200\n201\nArt. 417\nMvsevm\nCat. Sdraio ⁄ Lounge chair\nDesigned by René Herbst (1930) \nArt. 417 \nL ⁄ W 55 H 61–110\n \nP ⁄ D 90–120 cm\nW 21,7” H 24”–43,3”\nD 35,4”–47,2”\nArt. 417: Sdraio con struttura in tubo di acciaio cromato o laccato. \nSeduta e schienale in corde elastiche ricoperte di cotone nero. \n⁄ Art. 417: Lounge chair in chrome–plated or painted tubular steel. \nSeat and back in rubber spring cords with a black cotton covering.\nMvsevm\nRené Herbst\n",101,{"image":418,"text":419,"number":420},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.102.png","202\n203\nArt. 404\nMvsevm\nCat. Sedia ⁄ Chair\nDesigned by Robert Mallet–Stevens (1930) \nArt. 404 \nL ⁄ W 45 H 82 P ⁄ D 52 cm\nW 17,7” H 32,3” D 20,5”\nArt. 404: Sedia impilabile con struttura in tubo e lamiera di acciaio laccati in vari \ncolori. Disponibile anche con sedile imbottito. ⁄ Art. 404: Stacking chair in tubular \nand sheet steel, painted in different colours. Available also with upholstered seat.\nROBERT MALLET–STEVENS\nL’architetto e designer Robert Mallet–Stevens fu uno dei primi \nartisti francesi a rendersi conto che la tradizionale virtù francese \ndell’alta qualità e del gusto artistico dell’artigianato non potevano \npiù competere con le “moderne” qualità dei design austriaci \ne tedeschi, introdotti in Francia con un gruppo d’artisti di \nMonaco al Salon d’Automne nel 1910. Dal 1913, nel suo Salon de \nmusique esposto al Salon d’Automne, introduce uno stile basato \nsu linee pulite e forme geometriche, che saranno i canoni per \nle abitazioni parigine e i grandi magazzini degli anni ’20 e ’30. \nCome i suoi compagni, crede che l’arredamento del futuro debba \nessere conforme alle necessità della vita contemporanea, con la \nsemplicità come criterio principale. Il design delle sue sedie è in \ngenere d’acciaio tubolare, qualche volta con tessuti d’ispirazione \ncubista, caratterizzati da linee semplici e colori sobri.\nMvsevm\nRobert Mallet–Stevens\nThe architect and designer Robert Mallet–Stevens was one of the first French \nartists to realize that the traditional French feel for the highest craft quality \nand artistic taste, could no longer “compete” with the “modern” qualities of Austrian \nand German design which had been introduced into France with a group of artists \nfrom Munich at the Salon d’Automne inl 1910. So that from 1913, in his Salon de \nmusique exhibited at the Salon d’Automne, he introduced a style based on clean–cut \nlines and geometric forms, a style that was followed in the design of the Parisian \nresidences and department stores during the 20’s and 30’s. Like his companions \nhe believed that the furnishing of the future needed to conform with the demands \nof the modern lifestyle, with simplicity being the principal criteria. The chairs \nthat he designed, which were usually made from tubular steel, sometimes \nupholstered with fabrics of Cubist inspiration, characterized by basic clean cut \nlines and muted colours. \n1886 \nParis, France \n1945  \nParis, France\nEnglish\n",102,{"image":422,"text":423,"number":424},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.103.png","204\n205\nArt. 459\nDesigned by Takehiko Mizutani (1928) \nArt. 459 \n Ø 120 H 70,5 cm\nØ 47,2” H 27,7”\nArt. 459: Tavolo con struttura in tubo di acciaio cromato. Giunto in fusione \ndi alluminio verniciato nero. Piano in cristallo spessore 1,2 cm. ⁄ Art. 459: Table with \nchrome–plated tubular steel frame. Joint in black–painted cast aluminium.\nPlate glass top 1,2 cm thick.\nMvsevm\nCat. Tavolo ⁄ Table\nMvsevm\nTakehiko Mizutani\nMizutani is famous as having been one of the few Japanese students at the Bauhaus. \nHis name appears in the Bauhaus student lists for the first time in the Summer \nof 1927. A few pieces of sculpture done in connection with a workshop conducted \nby Joseph Albers have been published. Although this table has never before been \nproduced, photographs of the original wooden model have been published in various \nphotographis collections of Bauhaus furniture. Little is known of Mizutani’s stay \nat the Bauhaus. A photograph taken by Lotte Burkhardt shows Mizutani, the \nsmallest student at the Bauhaus, alongside the tallest student. He returned to Japan \nbefore the war and taught at the college at which he had studied, the Tokyo College \nof Fine Arts (now the Faculty of Fine Arts, Tokyo National University of Fine Arts \nand Music). He remained Assistant Professor of Architecture until 1944 after \nwhich he was a part–time lecturer. He died in 1969.\n1907\n1969\nEnglish\nTAKEHIKO MIZUTANI\nMizutani è famoso per essere stato uno dei pochi studenti \ngiapponesi al Bauhaus. Il suo nome appare nella lista studenti del \nBauhaus per la prima volta nell’estate del 1927. Alcuni sculture \nfatte per l’officina diretta da Joseph Albers sono state pubblicate. \nNonostante questo tavolo non sia stato mai prodotto, fotografie \ndell’originale modello in legno sono state pubblicate in certe \ncollezioni fotografiche di mobili Bauhaus. Non si sa molto del \nperiodo di soggiorno di Mizuzani al Bauhaus. Una fotografia \nscattata da Lotte Burkhardt, evidenzia Mizutani, lo studente \npiù piccolo al Bauhaus, vicino allo studente più alto. Ritornò in \nGiappone prima della guerra e insegnò nella scuola dove aveva \nstudiato, il Tokyo College of Fine Arts (che è adesso la facoltà \ndelle Belle Arti, all’Università di Tokyo delle Belle Arti e Musica).\nÈ rimasto come vice Professore di architettura fino al 1944,\ndopo di cui divenne docente part–time. Morì nel 1969.\n",103,{"image":426,"text":427,"number":428},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.104.png","206\n207\nMvsevm\nCat. Appendiabiti ⁄ Coat hanger\nArt. 710\nAnonymous (Circa ⁄ Around 1940) \nArt. 710 \nL ⁄ W 51 H 180 P ⁄ D 51 cm\n W 20” H 70,9” D 20”\nArt. 710: Appendiabiti in tondino d’acciaio laccato. Sfere in legno laccato rosso, \ngiallo, verde e blu. ⁄ Art. 710: Coat hanger in painted steel wire. Wooden spheres \npainted red, yellow, green and blue. \nANONYMOUS\nA questo gruppo appartengono quella serie di mobili di design \nrisalenti ai primi del ’900, per i quali non è possibile risalire \nall’autore, ma i cui modelli sono stati riscoperti e riprodotti.\nMvsevm\nAnonymous\nTo this group belong the series of designer furniture from the early ’900,\nfor which it is not possible to trace the author, but the models of which have\nbeen rediscovered and reproduced.\nEnglish\n",104,{"image":430,"text":431,"number":432},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.105.png","208\n209\nMvsevm\nCat. Poltrona ⁄ Armchair\nArt. 681\nAnonymous (1920) \nArt. 681 \nL ⁄ W 76 H 85 P ⁄ D 85 cm\nW 29,9” H 33,5” D 33,5”\nArt. 681: Poltrona in legno ricoperto in gomma poliuretanica e fodera in fibra\ndi poliestere. Cuscino spalliera in piuma d’oca. Cuscino seduta in gomma \npoliuretanica e dacron. Sfoderabile. ⁄ Art. 681: Armchair in wood covered with \npolyurethane foam and polyester fiber lining. Back cushion in goose–down.\nSeat cushion in polyurethane foam and dacron. Removable covers.\nMvsevm\nCat. Portaombrelli ⁄ Umbrella stand\nArt. 190\nAnonymous (Circa ⁄ Around 1930) \nArt. 190 \nL ⁄ W 40 H 69,5 P ⁄ D 40 cm\nW 15,7” H 27,4” D 15,7”\nArt. 190: Portaombrelli in tubolare d’acciaio cromato o laccato.\n⁄ Art. 190: Umbrella stand in chrome–plated or painted tubular steel. \n",105,{"image":434,"text":435,"number":436},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.106.png","210\n211\nMvsevm\nCat. Divano ⁄ Sofa\nArt. 683\nAnonymous (1920) \nArt. 683 \nL ⁄ W 196 H 85 P ⁄ D 85 cm\nW 77,1” H 33,5” D 33,5”\nArt. 683: Divano a tre posti in legno ricoperto in gomma poliuretanica e fodera \nin fibra di poliestere. Cuscini spalliera in piuma d’oca. Cuscini seduta in gomma \npoliuretanica e dacron. Sfoderabile. ⁄ Art. 683: Three–seater sofa in wood covered \nwith polyurethane foam and polyester fiber lining. Back cushions in goose–down.\nSeat cushions in polyurethane foam and dacron. Removable covers.\nMvsevm\nCat. Divano ⁄ Sofa\nArt. 682\nAnonymous (1920) \nArt. 682 \nL ⁄ W 136 H 85 P ⁄ D 85 cm\nW 53,5” H 33,5” D 33,5”\nArt. 682: Divano a due posti in legno ricoperto in gomma poliuretanica e fodera \nin fibra di poliestere. Cuscini spalliera in piuma d’oca. Cuscini seduta in gomma \npoliuretanica e dacron. Sfoderabile. ⁄ Art. 682: Two–seater sofa in wood covered \nwith polyurethane foam and polyester fiber lining. Back cushions in goose–down.\nSeat cushions in polyurethane foam and dacron. Removable covers.\n",106,{"image":438,"text":439,"number":440},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.107.png","212\n213\nMvsevm\nCat. Divano ⁄ Sofa\nArt. 692\nAnonymous (Circa ⁄ Around 1920) \nArt. 692 \nL ⁄ W 164 H 80 P ⁄ D 86 cm\nW 64,6” H 31,5” D 33,8”\nArt. 692: Divano a due posti in legno ricoperto in gomma poliuretanica e fodera\nin fibra di poliestere. Cuscini seduta e spalliera in piuma d’oca. Sfoderabile.\n⁄ Art. 692: Two–seater sofa in wood covered with polyurethane foam and polyester \nfiber lining. Seat and back cushions filled with goose–down. Removable covers.\nMvsevm\nCat. Poltrona ⁄ Armchair\nArt. 691\nAnonymous (Circa ⁄ Around 1920) \nArt. 691 \nL ⁄ W 98 H 80 P ⁄ D 86 cm\nW 38,6” H 31,5” D 33,8”\nArt. 691: Poltrona in legno ricoperto in gomma poliuretanica e fodera in fibra\ndi poliestere. Cuscino seduta e spalliera in piuma d’oca. Sfoderabile.\n⁄ Art. 691: Armchair in wood covered with polyurethane foam and polyester fiber \nlining. Seat and back cushion filled with goose–down. Removable covers.\n",107,{"image":442,"text":443,"number":444},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.108.png","214\n215\nMVSEVM Light Collection\n221 C. J. Jucker, 216 D. Desky, \n218 E. Gray, 219 G. Pap,\n220 J. Hoffmann, 217 M. Fortuny\ny Madrazo, 222–223 W. Wagenfeld,\n224 Anonymous\nMvsevm\nCat. Divano ⁄ Sofa\nArt. 693\nAnonymous (ca. 1920) \nArt. 693 \nL ⁄ W 229 H 80 P ⁄ D 86 cm\nW 90,2” H 31,5” D 33,8”\nArt. 693: Divano a tre posti in legno ricoperto in gomma poliuretanica e fodera\nin fibra di poliestere. Cuscini seduta e spalliera in piuma d’oca. Sfoderabile.\n⁄ Art. 693: Three–seater sofa in wood covered with polyurethane foam and polyester \nfiber lining. Seat and back cushions filled with goose–down. Removable covers.\nMvsevm\nDesigners\n",108,{"image":446,"text":447,"number":448},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.109.png","216\n217\nMvsevm\nCat. Lampada ⁄ Lamp\nArt. 458, Art. 478\nDesigned by Mariano Fortuny y Madrazo (1903) \nArt. 458 \nØ 39 H 62 cm\nArt. 478 \nØ 53 cm\nØ 15,4” H 24,4”\nØ 20,9”\nArt. 458: Lampada da tavolo con base di rovere e metallo verniciato nero. \nDiffusore e frangiluce in alluminio cromato. Wattaggio consigliato max 75 W.\nArt. 478: Lampada a sospensione con diffusore e frangiluce in alluminio cromato. \nDisponibile anche nella versione laccata nera o bianca. Verniciatura interna del \ndiffusore bianca. Wattaggio consigliato max 150 W. ⁄ Art. 458: Table lamp with \nbase in oak and black–painted steel. Chrome–plated aluminium shade and dome. \nRecommended wattage 75 W max. Art. 478: Hanging lamp with shade and dome \nin chrome–plated aluminium. Also available painted black or white. Inside \nof shade in white painted. Recommended wattage 150 W max.\nMvsevm\nCat. Lampada ⁄ Lamp\nArt. 508\nDesigned by D. Desky (1927–1929) \nArt. 508 \nØ 22 H 39 cm\nØ 8,7” H 15,3”\nArt. 508: Lampada da tavolo con diffusore orientabile in alluminio cromato, \nverniciatura interna bianca. Braccio in acciaio cromato. Base in legno laccato nero. \nWattaggio consigliato max 60 W. ⁄ Art. 508: Table lamp with adjustable shade \nin chrome–plated aluminium, white painted inside. Base in black–painted wood. \nChrome–plated steel arm. Recommended wattage 60 W max.\n",109,{"image":450,"text":451,"number":452},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.110.png","218\n219\nMvsevm\nCat. Lampada ⁄ Lamp\nArt. 178\nDesigned by Gyula Pap (1923) \nArt. 178 \nØ 49 H 182 cm\nØ 19,3” H 71,6”\nArt. 178: Lampada da terra con base di metallo verniciato nero. Asta di ottone \ncromato. Diffusore di vetro molato e sabbiato. Wattaggio consigliato max 100 W.\n⁄ Art. 178: Floor lamp with black–painted metal base. Chrome–plated brass column. \nShade in ground, sanded glass. Recommended wattage 100 W max.\nMvsevm\nCat. Lampada ⁄ Lamp\nArt. 408\nDesigned by Eileen Gray (1927) \nArt. 408 \nØ 25 H 102 cm\nØ 9,8” H 40,2”\nArt. 408: Lampada da terra con base e asta in acciaio cromato o laccato nero. \nLampada tubolare ad incandescenza. Wattaggio consigliato max 100 W. \n⁄ Art. 408: Floor lamp with base and coloumn in chrome–plated or black–painted \nsteel. Incandescent tube lamp. Recommended wattage 100 W max.\n",110,{"image":454,"text":455,"number":456},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.111.png","220\n221\nMvsevm\nCat. Lampada ⁄ Lamp\nArt. 118\nDesigned by Carl Jakob Jucker (1924)\nArt. 118 \nØ 21 H 44 cm\nØ 8,3” H 17,3”\nArt. 118: Lampada da tavolo con base in cristallo molato. Asta di vetro. Diffusore\ndi vetro opalino soffiato. Wattaggio consigliato max 75 W. ⁄ Art. 118: Table lamp with \nglass base and column. Shade in blown opal glass. Recommended wattage 75 W max.\nMvsevm\nCat. Lampada ⁄ Lamp\nArt. 618\nDesigned by Josef Hoffmann (1903)\nArt. 618 \nØ 25 H 35 cm\nØ 9,8” H 13,8”\nArt. 618: Lampada da tavolo con base e supporto in fusione di ottone cromato. \nDiffusore di vetro opalino soffiato. Wattaggio consigliato max 60 W. \n⁄ Art. 618: Table lamp with base and support in chrome–plated cast brass. \nShade in blown opal glass. Recommended wattage 60 W max.\n",111,{"image":458,"text":459,"number":460},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.112.png","222\n223\nMvsevm\nCat. Lampada ⁄ Lamp\nArt. 128\nDesigned by Wilhelm Wagenfeld (1924) \nArt. 128 \nØ 34 H 42 cm\nØ 13,4” H 16,5”\nArt. 128: Lampada da tavolo con base di cristallo molato. Asta di vetro. \nDiffusore di vetro opalino soffiato. Wattaggio consigliato max 60 W. \n⁄ Art. 128: Table lamp with glass base. Glass column. Shade in blown opal glass. \nRecommended wattage 60 W max.\nMvsevm\nCat. Lampada ⁄ Lamp\nArt. 108, Art. 138\nDesigned by Wilhelm Wagenfeld (1924) \nArt. 108 \nØ 18 H 36 cm\nArt. 138 \nØ 18 H 37 cm\nØ 7” H 14,2”\nØ 7” H 14,6”\nArt. 108: Lampada da tavolo con base di cristallo molato. Asta di vetro. \nDiffusore di vetro opalino soffiato. Wattaggio consigliato max 60 W.\nArt. 138: Lampada da tavolo con base e asta di ottone cromato. Diffusore di vetro \nopalino. Wattaggio consigliato max 60 W. ⁄ Art. 108: Table lamp with glass base \nand column. Shade in blown opal glass. Recommended wattage 60 W max. \nArt. 138: Table lamp with base and column in chrome–plated brass. \nShade in opal glass. Recommended wattage 60 W max. \n",112,{"image":462,"text":463,"number":464},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.113.png","A Future Classic\nBoss Collection\nA tribute to Bruno Rainaldi\n224\n225\nMvsevm\nCat. Lampada ⁄ Lamp\nArt. 598\nAnonymous (ca. 1928) \nArt. 598 \nØ 24 H 27 cm\nØ 9,4” H 10,6”\nArt. 598: Lampada da tavolo con base di ottone cromato. Sfere di ottone\nlucidato. Diffusore di vetro opalino. Wattaggio consigliato max 60 W.\n⁄ Art. 598: Table lamp with base in chrome–plated brass. Polished brass knobs. \nShade in blown opal glass. Recommended wattage 60 W max.\n",113,{"image":466,"text":467,"number":468},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.114.png","COS’È UN CLASSICO DEL DESIGN?\nÈ un oggetto che ci è diventato familiare perché l’abbiamo \nvisto mille volte – stampato sui libri, fotografato nelle \nriviste, conservato in un museo. Oppure è un oggetto che \nci parla come nessun altro: una poltrona che è diventata \nun classico ci sembra in qualche modo più poltrona di tutte \nle altre. O ancora è un oggetto che, sebbene pensato tanti \nanni fa, ha un aspetto così attuale da sembrare nuovo. \nUn classico del design non nasce per essere tale: nessun \ndesigner può dire di aver creato qualcosa con l’intenzione \ndi farne un classico, perché non può sapere in partenza \nse quell’oggetto sopravviverà alla prova del tempo e al \nconfronto con tutto ciò che lo seguirà. Esistono tuttavia \ndegli oggetti che sembrano nati per diventarlo: i classici \ndel futuro. Sono quelli che non si rifanno né a regole né a \ntendenze, ma piuttosto le mettono in dubbio. Sono oggetti \nche sembrano sospesi nel tempo, sempre al posto giusto \nin qualsiasi contesto – dall’antico al contemporaneo: \nnel primo appaiono moderni e nel secondo iconici, \nma in ogni caso rappresentano quel tocco di stile capace \ndi dare personalità a tutto l’insieme. Resteranno perché \nnon hanno ancora finito di dire tutto ciò che hanno da dire. \nBruno Rainaldi è il primo classico del futuro. Un nome \nche ha fatto la storia del design italiano, autore di alcune \ndelle icone della fine del secolo scorso; un designer \nche ha rielaborato la lezione dei maestri fino a diventare \nmaestro lui stesso. I suoi pezzi ci parlano ancora e siamo \nsicuri che continueranno a farlo negli anni che verranno.\nIt is an object that has become familiar because we have seen it a thousand times, whether printed \nin books, photographed in magazines or kept in a museum. Or it is an object that speaks to us like \nno other: an armchair that has become a classic somehow seems more like an armchair than any other. \nOr yet it is an object that, although conceived many years ago, looks so current that it seems new. \nA design classic is not born to be such: no designer can claim to have created something with \nthe intention of making it a classic, because he or she cannot know at the outset whether that object \nwill survive the test of time when confronted with everything that will follow. However, there are objects \nthat seem to be born to become the classics of the future. They are those that do not refer to rules \nor tendencies, but rather question them. They are objects that seem suspended in time, always in the \nright place in any context, from antique to contemporary: in the former they appear modern, in the latter \niconic, but they consistently represent that touch of style capable of giving personality to the whole. \nThey will remain because they have not yet finished saying all they have to say. Bruno Rainaldi is the \npremier classic of the future. A name that has made Italian design history, creator of some of the icons \nof the end of the last century; a designer who re–imagined the teaching of the masters to become a \nmaster himself. His pieces talk to us still, and we are sure they will continue to do so in the years to come. \nWHAT IS A DESIGN CLASSIC?\nMvsevm\n227\nMvsevm\nBruno Rainaldi\n226\n",114,{"image":470,"text":471,"number":472},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.115.png","Mvsevm\n229\nMvsevm\nBruno Rainaldi\n228\n",115,{"image":474,"text":475,"number":476},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.116.png","Mvsevm\n231\nMvsevm\nBruno Rainaldi\n230\n",116,{"image":478,"text":479,"number":480},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.117.png","Mvsevm\n233\nMvsevm\nBruno Rainaldi\n232\n",117,{"image":482,"text":483,"number":484},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.118.png","Mvsevm\n235\nMvsevm\nBruno Rainaldi\n234\n",118,{"image":486,"text":487,"number":488},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.119.png","Mvsevm\n237\nMvsevm\nBruno Rainaldi\n236\n",119,{"image":490,"text":491,"number":492},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.120.png","BRUNO RAINALDI\nBruno Rainaldi si è formato sul campo, iniziando da \ngiovanissimo a lavorare nella comunicazione del design \ndi arredamento. Con ironia definiva se stesso un “designer  \nda marciapiede” e il suo stile “caoticamente rigoroso”.  \nDirige a Milano il primo High–Tech di Corso di Porta Ticinese. \nAffianca Maddalena De Padova nello storico showroom  \ndi Corso Venezia poi Enrico Baleri, come socio della Baleri \n& Associati, nella definizione di strategie di comunicazione \nper aziende e punti vendita di design. Fonda Studio Rari \n– di cui è l’anima e il direttore creativo – e inizia le prime \ncollaborazioni come direttore artistico ⁄ designer con diverse \naziende del design Italiano. La sua profonda conoscenza \ndel mercato, la sua passione per le arti figurative e il talento \nprezioso per le associazioni trasversali sviluppate negli anni, \ncollegano definitivamente la competenza professionale di \nBruno Rainaldi al mondo del design. Eclettico, interessante, \nprovocatorio e visionario, aperto alla contaminazione, \namante dei contrasti e di tutte le cose – oggetti e non –  \nche trasmettono energia, Bruno Rainaldi ha progettato \nlibrerie, tavoli, sedie, divani, poltrone, letti, accessori e \nilluminazione. Un universo intenso e iconico di oggetti che \nnon riflettono una coerenza stilistica, ma piuttosto il vero \nsenso del design industriale per produrre solo gli oggetti \ngiusti da usare. Se tutto li unisce è la semplicità del design, \nla libertà di utilizzo, la versatilità della composizione. \nBruno Rainaldi has grown up on the field, starting at a very young age to work in the communication \nof design furniture. Ironically he called himself a “street designer” and his style “chaotically strict”. \nHe is in charge of the first High–Tech in Corso di Porta Ticino, Milan. He supports Maddalena De Padova \nin the historic showroom at Corso Venezia and hereafter Enrico Baleri as a member of the Baleri \n& Associates for the definition of communication strategies for companies and retail design. Then he \nfounded Rari Studio of which he is the soul and the creative director – and starts his first collaboration \nas an art director ⁄ designer with several Italian design firms. His deep market knowledge, his passion \nfor the figurative arts and valuable talent for transversal associations developed over the years, \nconnects Bruno Rainaldi’s professional competence definitely to the world design. Eclectic, interesting, \nprovocative and visionary, open to contamination, a lover of contrasts and of all things – objects \nand not – that transmit energy, Bruno Rainaldi has designed libraries, tables, chairs, sofas, armchairs, \nbeds, accessories and lighting. An intense and iconic universe of objects that do not reflect a stylistic \ncoherence, but rather the true sense of industrial design to produce just the right items to use. \nIf anything unites them it is the simplicity of design, freedom of use, versatility of composition.\n1952 \nMilan, Italy\n2011  \nMilan, Italy\nEnglish\nTelaio interno in acciaio \nrivestito in schiuma di poliuretano \nflessibile a freddo, classe 1M. \nBase in tubo di acciaio cromato \no verniciato. Rivestimento in \ntessuto o pelle. \nInternal steel frame covered \nwith cold shaped polyurethane \nfoam, class 1M. Base in steel \ntube, painted or chrome–plated. \nFabric or leather cover.\nBoss Collection\nStruttura in acciaio rivestita \nin schiuma di poliuretano \nflessibile a freddo, classe 1M.\nGambe in tubo di acciaio cromato \no verniciato. Rivestimento \nin tessuto o pelle.\nSteel frame covered with \ncold shaped polyurethane foam, \nclass 1M. Chrome–plated \nor painted tubular steel feet. \nFabric or leather cover. \nCat. Poltrona\n \nArmchair\nCat. Divano\n \nSofa\nCat. Poltrona Buddy\n \nBuddy Armchair\nCat. Divano Buddy\n \nBuddy Sofa\nArt. \n9005\nArt.\n9002\n9003\n9083\n9004\nArt.\n9241\nArt.\n9242\nW\n76,8”\n94,5”\n106,3”\n118,1”\nH\n29,5”\n29,5”\n29,5”\n29,5”\nD\n31,5”\n31,5”\n31,5”\n31,5”\nW\n28”\nH\n29,5”\nD\n25,6”\nH seat 18,1”\nH arm 27,6”\nH seat 17,7”\nW\n50”\nH\n29,5”\nD\n25,6”\nH seat 17,7”\nL ⁄ W\n123\nH\n75\nP ⁄ D\n80\nH seduta 46\nH bracciolo 70\nL ⁄ W\n195\n240\n270\n300\nH\n75\n75\n75\n75\nP ⁄ D\n80\n80\n80\n80\nL ⁄ W\n71\nH\n75\nP ⁄ D\n65\nL ⁄ W\n127\nH\n75\nP ⁄ D\n65\nH seduta 46\nH bracciolo 70\nH seduta 45\nH seduta 45\nTestata in acciaio rivestita in \nschiuma di poliuretano flessibile \na freddo. Base in tubo di acciaio \nverniciato o cromato, con giroletto \nrivestito in gomma poliuretanica. \nRete con doghe in faggio. \nRivestimento in tessuto o pelle. \n \nQuilted headrest with steel \nframe covered with flexible cold \nshaped polyurethane foam. \nBase in steel tube, painted \nor chrome–plated, with edge \ncovered with polyurethane foam. \nBeechwood slats. Fabric or \nleather cover.\n Standard\n Queen Size\n King Size\n Europe \n  Materasso ⁄ Mattress\nCat. Letto\n \nBed\nArt. \n9007  \n\n9007  \n\n9007  \n\n9007  \n\n9087  \n\n9087  \n\n9087  \n\n9087  \n\n9017  \n\n9017  \n\n9017  \n\n9017  \n\nW\n68,9”\n66,9”\n63,4”\n59”\n80,7”\n76”\n74,8”\n70,9”\n68,9”\n66,9”\n63,4”\n59”\n80,7”\n76”\n74,8”\n70,9”\n68,9”\n66,9”\n63,4”\n59”\n80,7”\n76”\n74,8”\n70,9”\nH\n66,5”\n66,5”\n66,5”\n66,5”\n48,8”\n48,8”\n48,8”\n48,8”\n37”\n37”\n37”\n37”\nD\n82,3”\n78,7”\n84,6”\n79,9”\n84,6”\n79,9”\n83,5”\n78,7”\n82,3”\n78,7”\n84,6”\n79,9”\n84,6”\n79,9”\n83,5”\n78,7”\n82,3”\n78,7”\n84,6”\n79,9”\n84,6”\n79,9”\n83,5”\n78,7”\nL ⁄ W\n175\n170\n161\n150\n205\n193\n190\n180\n175\n170\n161\n150\n205\n193\n190\n180\n175\n170\n161\n150\n205\n193\n190\n180\nH\n169\n169\n169\n169\n124\n124\n124\n124\n94\n94\n94\n94\nP ⁄ D\n209\n200\n215\n203\n215\n203\n212\n200\n209\n200\n215\n203\n215\n203\n212\n200\n209\n200\n215\n203\n215\n203\n212\n200\nHigh\nMedium\nLow\nW\n48,4”\nH\n29,5”\nD\n31,5”\nH seat 18,1”\nH arm 27,6”\nStruttura in acciaio rivestita in \nschiuma di poliuretano flessibile \na freddo. Rivestimento in tessuto \no pelle. Base in tubo di acciaio \nverniciato o cromato. \nSteel frame covered with cold \nshaped polyurethane foam. Fabric \nor leather cover. Base in steel tube, \npainted or chrome–plated.\nCat. Panca\n \nBench\nArt. \n9006 \n9006A\n9006B\nW\n47,2”\n63”\n47,2”\nH\n16,9”\n16,9”\n16,9”\nD\n23,6”\n23,6”\n47,2”\nL ⁄ W\n120\n160\n120\nH\n43\n43\n43\nP ⁄ D\n60\n60\n120\nMvsevm\n239\nMvsevm\nBruno Rainaldi\n238\n",120,{"image":494,"text":495,"number":496},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.121.png","241\n241\nMvsevm\nIndex of categories\nPag. \nCat. Sedia\n \n \nChair\n172 \nArt. 104\n174 \nArt. 114\n175 \nArt. 124\n183 \nArt. 144\n150 \nArt. 304\n148 \nArt. 314\n203 \nArt. 404\n197 \nArt. 414\n196 \nArt. 424\n069 \nArt. 455\n101 \nArt. 514\n029 \nArt. 524\n103 \nArt. 704\n082 \nArt. 769 ⁄ S\n051 \nArt. 804\n048 \nArt. 814\n046 \nArt. 834\n050 \nArt. 844\n045 \nArt. 854\n045 \nArt. 855\n047 \nArt. 864\nPag. \nCat. Sgabello\n \n \nStool\n154 \nArt. 316\n029 \nArt. 536\n108 \nArt. 706\n084 \nArt. 769 ⁄ P\nPag. \nCat. Poltrona\n \n \nArmchair\n161 \nArt. 135\n155 \nArt. 317\n152 \nArt. 325\n156 \nArt. 327\n138 \nArt. 334\n137 \nArt. 365\n062 \nArt. 421\n027 \nArt. 505\n099 \nArt. 565\n132 \nArt. 601\n129 \nArt. 611\n119 \nArt. 621\n124 \nArt. 631\n189 \nArt. 671\n209 \nArt. 681\n212 \nArt. 691\n031 \nArt. 717\n035 \nArt. 727\n049 \nArt. 871\nPag. \nCat. Poltroncina\n \n \nArmchair\n172 \nArt. 105\n174 \nArt. 115\n175 \nArt. 125 \n183 \nArt. 165\n187 \nArt. 185\n150 \nArt. 305\n149 \nArt. 315\nPag. \nCat. Poltroncina\n \n \nArmchair \n142 \nArt. 345\n144 \nArt. 355\n195 \nArt. 425\n198 \nArt. 445\n104 \nArt. 705\n050 \nArt. 845\nPag. \nCat. Poltroncina\n \n \nLounge chair\n154 \nArt. 324\n040 \nArt. 734\nPag. \nCat. Sdraio\n \n \nLounge chair\n167 \nArt. 137\n065 \nArt. 407\n201 \nArt. 417\nPag. \nCat. Trono\n \n \nWillow chair\n052 \nArt. 825\nPag. \nCat. Poggiapiedi\n \n \nFootrest\n138 \nArt. 336\n031 \nArt. 716\nPag. \nCat. Pouf\n \n \nOttoman\n116 \nArt. 726\nPag. \nCat. Divano\n \n \nSofa\n059 \nArt. 423\n068 \nArt. 427\n091 \nArt. 484\n133 \nArt. 602\n130 \nArt. 612\n131 \nArt. 613\n120 \nArt. 622\n121 \nArt. 623\n125 \nArt. 632\n126 \nArt. 633\n192 \nArt. 662\n210 \nArt. 682\n211 \nArt. 683\n213 \nArt. 692\n214 \nArt. 693\n116 \nArt. 722\nPag. \nCat. Panca\n \n \nBench\n096 \nArt. 766\n097 \nArt. 776\nPag. \nCat. Tavolino\n \n \nCoffee table\n166 \nArt. 109 ⁄ 1\n166 \nArt. 109 ⁄ 2\n158 \nArt. 309\nPag. \nCat. Tavolino\n \n \nCoffee table\n111 \nArt. 709\n036 \nArt. 739\n041 \nArt. 749\n037 \nArt. 759\n087 \nArt. 769 ⁄ 8\n086 \nArt. 769 ⁄ 9\n087 \nArt. 769 ⁄ 13\n089 \nArt. 789\n112 \nArt. 799\nPag. \nCat. Tavolino\n \n \nSide table\n159 \nArt. 319\n064 \nArt. 409\n063 \nArt. 419\n063 \nArt. 439\n122 \nArt. 639\n193 \nArt. 669\n193 \nArt. 679\n193 \nArt. 699\n085 \nArt. 769 ⁄ 3\n085 \nArt. 769 ⁄ 4\nPag. \nCat. Tavolo da gioco\n \n \nCard table\n134 \nArt. 619\nPag. \nCat. Tavolo\n \n \nTable\n205 \nArt. 459\n072 \nArt. 469\n114 \nArt. 729\n078 \nArt. 769 ⁄ 1\n078 \nArt. 769 ⁄ 2\n075 \nArt. 769 ⁄ 5\n075 \nArt. 769 ⁄ 6\n075 \nArt. 769 ⁄ 7\n078 \nArt. 769 ⁄ 11\n075 \nArt. 769 ⁄ 12\n078 \nArt. 769 ⁄ 30\n080 \nArt. 769 ⁄ XL160\n078 \nArt. 769 ⁄ A\n054 \nArt. 809\n056 \nArt. 819\nPag. \nCat. Letto\n \n \nBed\n146 \nArt. 337\n094 \nArt. 777\nPag. \nCat. Libreria\n \n \nBookcase\n176 \nArt. 110 ⁄ 4\n176 \nArt. 110 ⁄ 5\nPag. \nCat. Carrello\n \n \nServing cart\n170 \nArt. 149\n028 \nArt. 519\nPag. \nCat. Paravento\n \n \nScreen\n060 \nArt. 400\n042 \nArt. 700\nPag. \nCat. Scrivania\n \n \nDesk\n179 \nArt. 499\nPag. \nCat. Appendiabiti\n \n \nCoat hanger\n185 \nArt. 480\n207 \nArt. 710\n057 \nArt. 860\nPag. \nCat. Portaombrelli\n \n \nUmbrella stand\n208 \nArt. 190\nBruno Rainaldi\nBoss Collection\nPag. \nCat. Poltrona\n \n \nArmchair\n228 \nArt. 9005\n231 \nArt. 9241\nPag. \nCat. Divano\n \n \nSofa\n229 \nArt. 9002\n \nArt. 9003\n \nArt. 9083\n227 \nArt. 9004\n230 \nArt. 9242\nPag. \nCat. Panca\n \n \nBench\n232 \nArt. 9006\n232 \nArt. 9006A\n233 \nArt. 9006B\nPag. \nCat. Letto\n \n \nBed\n237 \nArt. 9007 ⁄ S ⁄ Q ⁄ K ⁄ E\n236 \nArt. 9087 ⁄ S ⁄ Q ⁄ K ⁄ E\n234 \nArt. 9017 ⁄ S ⁄ Q ⁄ K ⁄ E\nPag. \nCat. Lampada\n \n \nLamp\n222 \nArt. 108\n221 \nArt. 118\n223 \nArt. 128\n222 \nArt. 138\n219 \nArt. 178\n218 \nArt. 408\n217 \nArt 458\n217 \nArt. 478\n216 \nArt. 508\n220 \nArt. 618\n224 \nArt. 598\nMvsevm\nIndex of categories\n240\n",121,{"image":498,"text":499,"number":500},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.122.png","242\n243\nArt. 769 ⁄ 3 ⁄ 4 \n085\nTavolino, Side table \nArt. 769 ⁄ 9 \n086\nTavolino, Coffee table\nArt. 769 ⁄ 8 ⁄ 13 \n087\nTavolino, Coffee table\nF. J. KIESLER\nArt. 789 \n089\nTavolino, Coffee table\nG. NELSON\nArt. 484 \n091\nDivano, Sofa\nArt. 484 \nArt. 777 \n094\nLetto, Bed\nArt. 766 \n096\nPanca, Bench\nArt. 776 \n097\nPanca, Bench\nG. SUMMERS\nArt. 565 \n099\nPoltrona, Armchair\nArt. 565\nG. T. RIETVELD\nArt. 514 \n101\nSedia, Chair\nH. BERTOIA\nArt. 704 \n103\nSedia, Chair\nArt. 705 \n104\nPoltroncina, Armchair\nArt. 705\nArt. 706 \n108\nSgabello, Stool\nI. NOGUCHI\nArt. 709 \n111\nTavolino, Coffee table\nArt. 799 \n112\nTavolino, Coffee table\nArt. 729 \n114\nTavolo, Table\nArt. 729\nArt. 722 \n116\nDivano, Sofa\nArt. 726 \n116\nPouf, Ottoman\nJ. HOFFMANN\nArt. 621 \n119\nPoltrona, Armchair\nArt. 622 \n120\nDivano, Sofa\nArt. 622\nArt. 623 \n121\nDivano, Sofa\nArt. 639 \n122\nTavolini, Side tables\nArt. 631 \n124\nPoltrona, Armchair\nArt. 631\nArt. 632 \n125\nDivano, Sofa\nArt. 633 \n126\nDivano, Sofa\nJ. M. FRANK\nArt. 611 \n129\nPoltrona, Armchair\nArt. 612 \n130\nDivano, Sofa\nArt. 613 \n131\nDivano, Sofa\nArt. 601 \n132\nPoltrona, Armchair\nArt. 602 \n133\nDivano, Sofa\nArt. 619 \n134\nTavolo da gioco,\nCard table\nArt. 619\nL. MIES VAN DER ROHE\nArt. 365 \n137\nPoltrona, Armchair\nArt. 334 \n138\nPoltrona, Armchair\nArt. 336 \n138\nPoggiapiedi, Footrest\nArt. 345 \n142\nPoltroncina, Armchair\nArt. 345\nArt. 355 \n144\nPoltroncina, Armchair\nArt. 337 \n146\nLetto, Bed\nArt. 314 \n148\nSedia, Chair\nMvsevm\nProduct Index\nA. AALTO\nArt. 505 \n027\nPoltrona, Armchair\nArt. 519 \n028\nCarrello, Serving cart\nArt. 519\nArt. 524 \n029\nSedia, Chair\nArt. 536 \n029\nSgabello, Stool\nPatterned after the\ndesigns of C. EAMES\nArt. 717 \n031\nPoltrona, Armchair\nArt. 716 \n031\nPoggiapiedi, Footrest\nArt. 727 \n035\nPoltrona, Armchair\nArt. 739 \n036\nTavolino, Coffee table\nArt. 759 \n037\nTavolino, Coffee table\nArt. 759\nArt. 734 \n040\nPoltroncina, Lounge chair\nArt. 749 \n041\nTavolino, Coffee table\nArt. 700 \n042\nParavento, Screen\nC. R. MACKINTOSH\nArt. 854 \n045\nSedia, Chair\nArt. 854\nArt. 855 \n045\nSedia, Chair\nArt. 834 \n046\nSedia, Chair\nArt. 864 \n047\nSedia, Chair\nArt. 814 \n048\nSedia, Chair\nArt. 871 \n049\nPoltrona, Armchair\nArt. 844 \n050\nSedia, Chair\nArt. 844\nArt. 845 \n050\nPoltroncina, Armchair\nArt. 804 \n051\nSedia, Chair\nArt. 825 \n052\nTrono, Willow chair\nArt. 809 \n054\nTavolo, Table\nArt. 819 \n056\nTavolo, Table\nArt. 860 \n057\nAppendiabiti,\nCoat hanger\nE. GRAY\nArt. 423 \n059\nDivano, Sofa\nArt. 400 \n060\nParavento, Screen\nArt. 421 \n062\nPoltrona, Armchair\nArt. 419 \n063\nTavolino, Side table\nArt. 439 \n063\nTavolino, Side table\nArt. 409 \n064\nTavolino, Side table\nArt. 409\nArt. 407 \n065\nSdraio, Lounge chair\nArt. 427 \n068\nDivano, Sofa\nArt. 455 \n069\nSedia, Chair\nArt. 455\nArt. 469 \n072\nTavolo, Table\nE. SAARINEN\nArt. 769 ⁄ 5 ⁄ 6 ⁄ 7 ⁄ 12 \n075\nTavolo, Table\nArt. 769 ⁄ 1 ⁄ 2 ⁄ 11 ⁄ A ⁄ 30 078\nArt. 769 ⁄ XL160 \n080\nTavolo, Table\nArt. 769 ⁄ 11\nArt. 769 ⁄ S \n082\nSedia, Chair\nArt. 769 ⁄ P \n084\nSgabello, Stool\nArt. 769 ⁄ P\nMvsevm\nProduct Index\n",122,{"image":502,"text":503,"number":504},"\u002Fmedia\u002Fimages\u002Ff6\u002F3e8b2859e0ae194a8d96c3556b3c92.123.png","244\n245\nR. MALLET–STEVENS\nArt. 404 \n203\nSedia, Chair\nT. MIZUTANI\nArt. 459 \n205\nTavolo, Table\nArt. 459\nANONYMOUS\nArt. 710 \n207\nAppendiabiti,\nCoat hanger\nArt. 190 \n208\nPortaombrelli,\nUmbrella stand\nArt. 681 \n209\nPoltrona, Armchair\nArt. 682 \n210\nDivano, Sofa\nArt. 683 \n211\nDivano, Sofa\nArt. 691 \n212\nPoltrona, Armchair\nArt. 692 \n213\nDivano, Sofa\nArt. 693 \n214\nDivano, Sofa\nLIGHT COLLECTION\nArt. 508 \n216\nD. Desky \nArt. 458 \n217\nM. Fortuny y Madrazo\nArt. 478 \n217\nM. Fortuny y Madrazo\nArt. 478\nArt. 408 \n218\nE. Gray\nArt. 178 \n219\nG. Pap\nArt. 618 \n220\nJ. Hoffmann\nArt. 118 \n221\nC. J. Jucker\nArt. 108 \n222\nW. Wagenfeld\nArt. 138 \n222\nW. Wagenfeld\nArt. 128 \n223\nW. Wagenfeld\nArt. 598 \n224\nAnonymous\nArt. 598\nBRUNO RAINALDI\nA Future Classic \n225\nBoss Collection\nDivano, \n227, 229\nSofa\nPoltrona, \n228\nArmchair\nDivano Buddy, \n230\nBuddy Sofa\n \nPoltrona Buddy, \n231\nBuddy Armchair\nPanca, \n232, 233\nBench\nLetto, \n234, 235, 236, 237\nBed\nBoss Collection\nLetto, Bed\nMvsevm\nProduct Index\nArt. 315 \n149\nPoltroncina, Armchair\nArt. 304 \n150\nSedia, Chair\nArt. 305 \n150\nPoltroncina, Armchair\nArt. 305\nArt. 325 \n152\nPoltrona, Armchair\nArt. 324 \n154\nPoltroncina, Lounge chair\nArt. 316 \n154\nSgabello, Stool\nArt. 317 \n155\nPoltrona, Armchair\nArt. 327 \n156\nPoltrona, Lounge chair\nArt. 309 \n158\nTavolino, Coffee table\nArt. 319 \n159\nTavolino, Side table\nArt. 319\nM. BREUER\nArt. 135 \n161\nPoltrona, Armchair\nArt. 109 ⁄ 1 ⁄ 2 \n166\nTavolini, Coffee tables\nArt. 137 \n167\nSdraio, Lounge chair\nArt. 149 \n170\nCarrello, Serving cart\nArt. 149\nArt. 104 \n172\nSedia, Chair\nArt. 105 \n172\nPoltroncina, Armchair\nArt. 104 – 105\nArt. 114 \n174\nSedia, Chair\nArt. 115 \n174\nPoltroncina, Armchair\nArt. 124 \n175\nSedia, Chair\nArt. 125 \n175\nPoltroncina, Armchair\nArt. 110 ⁄ 4 ⁄ 5 \n176\nLibreria, Bookcase\nM. OLD\nArt. 499 \n179\nScrivania, Desk\nArt. 499\nM. STAM\nArt. 144 \n183\nSedia, Chair\nArt. 165 \n183\nPoltroncina, Armchair\nArt. 165\nO. BLÜMEL\nArt. 480 \n185\nAppendiabiti,\nCoat hanger\nO. P. BERNARD\nArt. 185 \n187\nPoltroncina, Armchair\nP. CHAREAU\nArt. 671 \n189\nPoltrona, Armchair\nArt. 662 \n192\nDivano, Sofa\nArt. 669 \n193\nTavolino, Side table\nArt. 699 \n193\nTavolino, Side table\nArt. 679 \n193\nTavolino, Side table\nArt. 669 – 699 – 679\nR. 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Fiorentina\n \n· Comune di Napoli\n \n· Mada Hotels\n \n· Relax Hotels\n \n· Hotel Michelangelo\n \n (Chianciano Terme)\n \n· Biblioteca Nazionale\n \n di Firenze\n \n· Uffici della Provincia\n \n di Latina\n \n· La Farnesina, Roma\n \n· Ministero dell’Interno,\n \n Roma\n \n· Ferretti Group\n \n· Castello di Torregalli,\n \n Firenze\n \n· Nun Relais & SPA\n \n Museum Hotel, Assisi\n \n· Lidl – Uffici Direzionali,\n \n Verona\n \n· Hotel Masseria\n \n Alchimia, Puglia\n \n· Hotel Missoni\n \n· Ristorante Mary & Co,\n \n Bormio\n \n· American Express, Roma\n \n· Eni Group, Milano\n \n· Hotel Milano, Bergamo\n \n· Una Hotels & Resort\n \n· Cassa di Risparmio\n \n di Firenze\n \n· Università LUISS, Roma\n \n· Harmont & Blaine Spa\n \n· Azimut Benetti Spa\n \n· Divisione Yachtique,\n \n Viareggio\n \n· Rossinavi, Viareggio\n \n· Hotel Silla, Firenze\n \n· B&B Terrazza, Firenze\n \n· Renascentia Store,\n \n Firenze\nJ JAPAN\n \n· Pachinko Tower Tokyo\n \n· Glass House, Hiroshima\nK KUWAIT\n \n· Sheick Abdallah\n \n· Al Salem Cultural Centre\nL LEBANON\n \n· Credit Commercial\n \n de France, Beirut\n \nLUXEMBOURG\n \n· WGZ Bank\nM MALAYSIA\n \n· Musictheque Istana\n \n· Hotel Kuala Lumpur\n \nMAROC\n \n· Residential Villa\n \n Casablanca\nP PORTUGAL\n \n· Hotel Florida, Lisbon\nR RUSSIA\n \n· Osko Hous, St Petersburg\nS SAUDI ARABIA\n \n· Crowne Plaza Hotel Riyadh\n \n· Happy Land Project\n \nSINGAPORE\n \n· Rabo Bank\n \n· Governament of Singapore  \n \n· Guess Boutique\n \n· Siemens\n \nSPAIN\n \n· Hard Rock Hotel Ibiza\n \n· Park Hyatt Mallorca\n \n· Hotel Valencia Palace,\n \n Valencia\n \n· Hotel San Roque, Tenerife  \n \n· Caya General de Ahorros\n \n Granada\n \n· Mallorca Glass House\nT THE NEDERLANDS\n \n· W Hotel Amsterdam\n \n· SNC Bank\n \n· Den Bosch Avero Verz. 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