[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-classicon-collection-2021":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":771},{"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":766,"matched_pages":767,"match_count":768,"two_pages":769,"show_text":770},10054,"Collection 2021","classicon-collection-2021","\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fc9\u002F66df0f195c22afb5d8f49a43645c16-25cab79a96.pdf","ClassiCon",2172,"classicon","15.1 MB",[14,17,20,23,27,30,33,37,41,45,49,53,57,60,64,67,70,74,78,81,84,87,91,95,98,102,105,109,113,117,120,124,127,131,134,138,142,146,149,153,157,161,165,169,173,176,179,183,186,190,193,197,201,205,208,212,215,219,223,227,231,235,239,243,247,251,255,259,262,266,269,273,277,281,285,289,292,296,300,304,308,312,316,320,323,327,330,334,338,342,345,349,352,356,359,363,367,371,375,379,382,386,389,393,396,400,403,407,410,414,418,422,426,430,433,437,441,445,448,452,456,460,464,467,471,475,479,483,487,490,494,498,501,505,509,513,517,521,525,529,533,537,541,545,548,552,556,560,563,567,571,575,579,583,587,591,594,598,602,606,610,614,618,622,626,630,634,638,642,646,650,654,658,662,666,670,674,678,681,685,689,693,697,701,705,709,713,717,721,725,729,733,737,741,745,749,753,756,760,764],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":15,"number":19},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.2.png",2,{"image":21,"text":15,"number":22},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.3.png",3,{"image":24,"text":25,"number":26},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.4.png","Oliver Holy, Owner\n",4,{"image":28,"text":15,"number":29},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.5.png",5,{"image":31,"text":15,"number":32},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.6.png",6,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.7.png","P 10\nCompany\nP 21\nCollection\nP 162\nContract\nP 174\nEileen Gray \nE1027\nP 145\nOliver Holy‘s \nMunich\nP 154\nCraftsmanship\nP 183\nDesigners\nP 186\nProducts\n",7,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.8.png","All Eileen Gray Designs are authorised by  \nThe World Licence Holder Aram Designs Ltd., London\n1927\nAdjustable Table E1027, Eileen Gray\nclassic\nClassic Contemporary Design\n",8,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.9.png","2012\nBell Side Table, Sebastian Herkner\ncontemporary\n",9,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.10.png","1908\nNymphenburg Coat Stand, Otto Blümel\nclassic\n",10,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.11.png","2007\nSaturn Coat Stand, Barber Osgerby\ncontemporary\n",11,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.12.png","A place for visions and views: the place where its history begins is as \ntimelessly classic as our furniture. Since 2003, ClassiCon’s showroom, \noffices and warehouse have been located in a building designed for us  \nby architect Joachim Jürke. With its reduced aesthetics, materials such \nas glass, concrete and wood, and a consistently sustainable orientation  \nit is a symbol of our philosophy to always focus on the essential.\n",12,{"image":58,"text":15,"number":59},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.13.png",13,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.14.png","What matters in the end are things that \nremain. At ClassiCon, we are dedicated to \nthese timeless companions. Our name stands \nfor the unmistakable combination of classic \nand contemporary, the classics of today and \nthose of tomorrow. What they all have in \ncommon is that form and function prevail \nbeyond trends and fashions. We enjoy having \nthem around because they are outstandingly \ndesigned, carefully selected, and produced \nwith the enormous passion of craftsmanship. \nTime is unable to harm them; instead, they \ngain in stature as time goes by. \ntimeless\n",14,{"image":65,"text":15,"number":66},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.15.png",15,{"image":68,"text":15,"number":69},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.16.png",16,{"image":71,"text":72,"number":73},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.17.png","How much spirit of departure does a piece of \nfurniture contain? At ClassiCon, you will only \nfind innovative furniture that expresses the \ncourage to depart from familiar ground. Some of \nthe pieces carry big names, and each can look \nback on a proud design history, sometimes over \nseveral decades. Others, however, are only at  \nthe beginning of writing their own big stories. \nPioneering design is in the best hands at \nClassiCon because designers and their rights \nowners know how respectful we are about  \nthe handling of their originals. And since such \nicons are rare, our collection of modern  \nclassics is both small and fine. \npioneering\n",17,{"image":75,"text":76,"number":77},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.18.png","authentic \nAlthough our designers and their designs are  \ncosmopolitan, we are down-to-earth when it \ncomes to the selection of our production partners. \nClassiCon furniture is mainly produced by \nhandicraft businesses in the Munich area as well \nas in Italy. Many of them are family-run com- \npanies, and we have known them personally for  \na long time; all of them are masters of their  \ntrade. They share our passion for the best materials \nand precision craftsmanship. Because of this, the \nhighest quality standards and uncompromising \nsustainability are an integral part of our furniture \nfrom the beginning. They can be recognised by  \nthe ClassiCon logo lettering, which unmistakably \nmarks our originals. \n",18,{"image":79,"text":15,"number":80},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.19.png",19,{"image":82,"text":15,"number":83},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.20.png",20,{"image":85,"text":15,"number":86},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.21.png",21,{"image":88,"text":89,"number":90},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.22.png","“We’re connected by an enthusiasm for excellent  \n design, genuine craftsmanship, and the pleasure  \n to experience both on a daily basis.” \nOliver Holy, Owner, and Larissa Sarjeant, CEO \nP 20\n",22,{"image":92,"text":93,"number":94},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.23.png","Good furniture is like a good friend: somebody we like to have around, who becomes  \nan appreciated part of us sooner or later, and who accompanies us through life wherever \nit may take us. This is the kind of furniture we produce.\nCollection\n",23,{"image":96,"text":15,"number":97},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.24.png",24,{"image":99,"text":100,"number":101},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.25.png","ADJUSTABLE TABLE E1027 1927 \nEILEEN GRAY \nP 190\nDAY BED 1925 \nEILEEN GRAY \nP 189\nBIBENDUM ARMCHAIR 1926 \nEILEEN GRAY \nP 188\nP 23\n",25,{"image":103,"text":15,"number":104},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.26.png",26,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.27.png","TUBE LIGHT FLOOR LAMP 1927 \nEILEEN GRAY \nP 194\nBIBENDUM ARMCHAIR 1926 \nEILEEN GRAY \nP 188\nADJUSTABLE TABLE E1027 1927 \nEILEEN GRAY \nP 190\nBONAPARTE RUG 1926-1935 \nEILEEN GRAY \nP 193\nNON CONFORMIST ARMCHAIR 1926 \nEILEEN GRAY \nP 188\nNYMPHENBURG COAT STAND 1908 \nOTTO BLÜMEL \nP 193\nP 25\n",27,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.28.png","  Zeev Aram, World Licence Holder\n  of all Eileen Gray designs\n“All you need is an  \n intelligent pair of eyes  \n and an open mind.” \nBRICK SCREEN 1922-1925 \nEILEEN GRAY \nP 193\nNON CONFORMIST ARMCHAIR 1926 \nEILEEN GRAY \nP 188\n",28,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.29.png","P 27\n",29,{"image":118,"text":15,"number":119},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.30.png",30,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.31.png","BOW COFFEE TABLE NO. 4 + 5 + 3 2018 \nGUILHERME TORRES \nP 190\nP 29\n",31,{"image":125,"text":15,"number":126},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.32.png",32,{"image":128,"text":129,"number":130},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.33.png","BELL SIDE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\nBELL COFFEE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\nAËRIAS CHAIR 2018 \nTILLA GOLDBERG \nP 188\nBELL HIGH TABLE 2020 \nSEBASTIAN HERKNER \nP 191\nP 31\n",33,{"image":132,"text":15,"number":133},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.34.png",34,{"image":135,"text":136,"number":137},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.35.png","LANTERN LIGHT FLOOR LAMP 2017 \nNERI&HU \nP 194\nBOW COFFEE TABLE NO. 3 + 4 + 5 2018 \nGUILHERME TORRES \nP 190\nP 33\n",35,{"image":139,"text":140,"number":141},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.36.png","ROQUEBRUNE RUG 1926-1935 \nEILEEN GRAY \nP 194\nBOW COFFEE TABLE NO. 3 MARBLE 2019 \nGUILHERME TORRES \nP 190\n",36,{"image":143,"text":144,"number":145},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.37.png","P 35\n",37,{"image":147,"text":15,"number":148},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.38.png",38,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.39.png","SELENE PENDANT LAMP 2006 \nSANDRA LINDNER \nP 194\nCENTIMETRE RUG 1926 \nEILEEN GRAY \nP 193\nMENTON TABLE 1932 \nEILEEN GRAY \nP 191\nLOTA SOFA 1924 \nEILEEN GRAY \nP 189\nBOWL 2014 \nCLASSICON \nP 193\nP 37\n",39,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.40.png","LOTA SOFA 1924 \nEILEEN GRAY \nP 189\n",40,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.41.png","  Anna and Dominik Wichmann, \n  Editor and Author \u002F Entrepreneur, with Romy and Ella\n“Good design functions across  \n generations. And it makes a  \n house a home.” \nP 39\n",41,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.42.png","BELL SIDE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\nBELL COFFEE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\nODIN SOFA 2005 \nKONSTANTIN GRCIC \nP 189\nBLUE MARINE RUG 1926-1935 \nEILEEN GRAY \nP 193\n",42,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.43.png","P 41\n",43,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.44.png","EUVIRA ROCKING CHAIR 2013 \nJADER ALMEIDA \nP 188\nBELL COFFEE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\nBELL SIDE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\nSELENE PENDANT LAMP 2006 \nSANDRA LINDNER \nP 194\nP 42\n",44,{"image":174,"text":15,"number":175},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.45.png",45,{"image":177,"text":15,"number":178},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.46.png",46,{"image":180,"text":181,"number":182},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.47.png","*The metal top frame in unlacquered copper develops a natural patina.\nBELL COFFEE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\nBELL SIDE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\nBELL SIDE TABLE COPPER* 2013 \nSEBASTIAN HERKNER \nP 190\nBELL COFFEE TABLE COPPER* 2013 \nSEBASTIAN HERKNER \nP 190\nP 45\n",47,{"image":184,"text":15,"number":185},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.48.png",48,{"image":187,"text":188,"number":189},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.49.png","PLI TABLE 2017 \nVICTORIA WILMOTTE \nP 191\nAËRIAS CHAIR 2018 \nTILLA GOLDBERG \nP 188\nPIEGA MIRROR OBJECT LARGE 2018 \nVICTORIA WILMOTTE \nP 192\nVASE 2014 \nCLASSICON \nP 193\nP 47\n",49,{"image":191,"text":15,"number":192},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.50.png",50,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.51.png","TUBE LIGHT FLOOR LAMP 1927 \nEILEEN GRAY \nP 194\nDAY BED 1925 \nEILEEN GRAY \nP 189\nPIEGA MIRROR OBJECT MEDIUM 2018 \nVICTORIA WILMOTTE \nP 192\nPIEGA MIRROR OBJECT SMALL 2018 \nVICTORIA WILMOTTE \nP 192\nADJUSTABLE TABLE E1027 1927 \nEILEEN GRAY \nP 190\nP 49\n",51,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.52.png","  Dani Wong, PR and Trade Marketing Manager\n“A good project works even  \n without advertising. Especially  \n when it brings along its very  \n own history.” \nP 50\n",52,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.53.png","BELL HIGH TABLE 2020 \nSEBASTIAN HERKNER \nP 191\nDAY BED 1925 \nEILEEN GRAY \nP 189\n",53,{"image":206,"text":15,"number":207},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.54.png",54,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.55.png","ODIN SOFA 2005 \nKONSTANTIN GRCIC \nP 189\nBELL SIDE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\nBELL HIGH TABLE 2020 \nSEBASTIAN HERKNER \nP 191\nSHIA VASE 2020 \nCLASSICON \nP 193\nP 53\n",55,{"image":213,"text":15,"number":214},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.56.png",56,{"image":216,"text":217,"number":218},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.57.png","CASTELLAR RUG 1926-1935 \nEILEEN GRAY \nP 193\nBIBENDUM ARMCHAIR 1926 \nEILEEN GRAY \nP 188\nADJUSTABLE TABLE E1027 1927 \nEILEEN GRAY \nP 190\nODIN SOFA 2005 \nKONSTANTIN GRCIC \nP 189\nTAIDGH SHELF A + B 2019 \nTAIDGH O‘NEILL \nP 192\nBOW COFFEE TABLE NO. 3 MARBLE 2019 \nGUILHERME TORRES \nP 190\nBOW COFFEE TABLE NO. 5 2018 \nGUILHERME TORRES \nP 190\nTAIDGH SHELF C 2019 \nTAIDGH O‘NEILL \nP 192\nP 55\n",57,{"image":220,"text":221,"number":222},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.58.png","BIBENDUM ARMCHAIR 1926 \nEILEEN GRAY \nP 188\nBELL COFFEE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\nBELL SIDE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\n",58,{"image":224,"text":225,"number":226},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.59.png","P 57\n",59,{"image":228,"text":229,"number":230},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.60.png","BELL HIGH TABLE 2020 \nSEBASTIAN HERKNER \nP 191\nSHIA VASE 2020 \nCLASSICON \nP 193\nROATTINO FLOOR LAMP 1931 \nEILEEN GRAY \nP 194\n",60,{"image":232,"text":233,"number":234},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.61.png","P 59\n",61,{"image":236,"text":237,"number":238},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.62.png","CYPRIS MIRROR 2015 \nNINA MAIR \nP 192\nVASE 2014 \nCLASSICON \nP 193\nBELL SIDE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\n",62,{"image":240,"text":241,"number":242},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.63.png","P 61\n",63,{"image":244,"text":245,"number":246},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.64.png","  Maren Pensgard and Sondre Horntvedt,  \n  Graphic Designer and Osteopath  \n“Cosiness is an interaction of  \n various factors. A key factor:  \n furniture with character.” \n",64,{"image":248,"text":249,"number":250},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.65.png","EUVIRA LOUNGE CHAIR 2015 \nJADER ALMEIDA \nP 188\nTADAIMA CONSOLE 2017 \nA+A COOREN \nP 193\nP 63\n",65,{"image":252,"text":253,"number":254},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.66.png","EUVIRA ROCKING CHAIR 2013 \nJADER ALMEIDA \nP 188\nEUVIRA LOUNGE CHAIR 2015 \nJADER ALMEIDA \nP 188\nMATÉRIA SIDE TABLE 2021 \nCHRISTIAN HAAS \nP 191\nMATÉRIA LONG TABLE 2021 \nCHRISTIAN HAAS \nP 191\n",66,{"image":256,"text":257,"number":258},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.67.png","P 65\n",67,{"image":260,"text":15,"number":261},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.68.png",68,{"image":263,"text":264,"number":265},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.69.png","EUVIRA LOUNGE CHAIR 2015 \nJADER ALMEIDA \nP 188\nSOL SIDE TABLE 2021 \nORTEGAGUIJARRO \nP 191\nEUVIRA ROCKING CHAIR 2013 \nJADER ALMEIDA \nP 188\nDIANA A SIDE TABLE 2002 \nKONSTANTIN GRCIC \nP 190\nP 67\n",69,{"image":267,"text":15,"number":268},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.70.png",70,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.71.png","EUVIRA ROCKING CHAIR 2013 \nJADER ALMEIDA \nP 188\nBELL COFFEE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\nBELL SIDE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\nBELL LIGHT PENDANT LAMP 2013 \nSEBASTIAN HERKNER \nP 194\nP 69\n",71,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.72.png","BELL SIDE TABLE COPPER* 2013 \nSEBASTIAN HERKNER \nP 190\nBELL COFFEE TABLE COPPER* 2013 \nSEBASTIAN HERKNER \nP 190\nBELL SIDE TABLE MINIATURE 2014 \nSEBASTIAN HERKNER \nP 193\n*The metal top frame in unlacquered copper develops a natural patina.\n",72,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.73.png","BELL SIDE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\nTAIDGH SHELF B 2019 \nTAIDGH O‘NEILL \nP 192\nEUVIRA ROCKING CHAIR 2013 \nJADER ALMEIDA \nP 188\nLANTERN LIGHT FLOOR LAMP 2017 \nNERI&HU \nP 194\nP 71\n",73,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.74.png","PAILLA WALL LAMP 1927 \nEILEEN GRAY \nP 194\nMANDU VALET STAND 1932 \nECKART MUTHESIUS \nP 192\nBANU STOOL 1931 \nECKART MUTHESIUS \nP 189\n",74,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.75.png","P 73\n",75,{"image":290,"text":15,"number":291},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.76.png",76,{"image":293,"text":294,"number":295},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.77.png","SOL SIDE TABLE 2021 \nORTEGAGUIJARRO \nP 191\nP 75\n",77,{"image":297,"text":298,"number":299},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.78.png","SEDAN LOUNGE CHAIR 2013 \nNERI&HU \nP 188\nSOL SIDE TABLE 2021 \nORTEGAGUIJARRO \nP 191\n",78,{"image":301,"text":302,"number":303},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.79.png","P 77\n",79,{"image":305,"text":306,"number":307},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.80.png","P 78\n",80,{"image":309,"text":310,"number":311},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.81.png","SEDAN CHAIR 2015 \nNERI&HU \nP 188\nPALLAS TABLE 2003 \nKONSTANTIN GRCIC \nP 191\nSELENE PENDANT LAMP 2006 \nSANDRA LINDNER \nP 194\nPARIS SHELF 2005 \nBARBER OSGERBY \nP 192\nSEDAN LOUNGE CHAIR 2013 \nNERI&HU \nP 188\nPLI SIDE TABLE LOW 2016 \nVICTORIA WILMOTTE \nP 191\nCYPRIS MIRROR 2015 \nNINA MAIR \nP 192\n",81,{"image":313,"text":314,"number":315},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.82.png","MATÉRIA LOW BOARD SERIES 2021 \nCHRISTIAN HAAS \nP 191\nCYPRIS MIRROR 2015 \nNINA MAIR \nP 192\nLANTERN LIGHT TABLE LAMP 2017 \nNERI&HU \nP 194\n",82,{"image":317,"text":318,"number":319},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.83.png","P 81\n",83,{"image":321,"text":15,"number":322},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.84.png",84,{"image":324,"text":325,"number":326},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.85.png","MATÉRIA LOW BOARD SERIES 2021 \nCHRISTIAN HAAS \nP 191\nSHIA VASE 2020 \nCLASSICON \nP 193\nKILKENNY RUG 1926-1935 \nEILEEN GRAY \nP 193\nLOTA SOFA 1924 \nEILEEN GRAY \nP 189\nSELENE PENDANT LAMP 2006 \nSANDRA LINDNER \nP 194\nPLISSÉE FLOOR LAMP 2020 \nSEBASTIAN HERKNER \nP 194\nP 83\n",85,{"image":328,"text":15,"number":329},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.86.png",86,{"image":331,"text":332,"number":333},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.87.png","MATÉRIA LOW BOARD SERIES 2021 \nCHRISTIAN HAAS \nP 191\nPLISSÉE FLOOR LAMP 2020 \nSEBASTIAN HERKNER \nP 194\nP 85\n",87,{"image":335,"text":336,"number":337},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.88.png","LANTERN LIGHT FLOOR LAMP 2017 \nNERI&HU \nP 194\nMARS CHAIR 2003 \nKONSTANTIN GRCIC \nP 188\nPLI TABLE 2017 \nVICTORIA WILMOTTE \nP 191\n",88,{"image":339,"text":340,"number":341},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.89.png","P 87\n",89,{"image":343,"text":15,"number":344},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.90.png",90,{"image":346,"text":347,"number":348},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.91.png","PLISSÉE FLOOR LAMP 2020 \nSEBASTIAN HERKNER \nP 194\nCYPRIS MIRROR 2015 \nNINA MAIR \nP 192\nVENUS CHAIR 2006 \nKONSTANTIN GRCIC \nP 188\nPLI TABLE 2017 \nVICTORIA WILMOTTE \nP 191\nTAIDGH SHELF D 2019 \nTAIDGH O‘NEILL \nP 192\nP 89\n",91,{"image":350,"text":15,"number":351},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.92.png",92,{"image":353,"text":354,"number":355},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.93.png","VENUS CHAIR 2006 \nKONSTANTIN GRCIC \nP 188\nMARS CHAIR 2003 \nKONSTANTIN GRCIC \nP 188\nPLI TABLE 2017 \nVICTORIA WILMOTTE \nP 191\nP 91\n",93,{"image":357,"text":15,"number":358},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.94.png",94,{"image":360,"text":361,"number":362},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.95.png","PLI SIDE TABLE LOW 2016 \nVICTORIA WILMOTTE \nP 191\nSELENE PENDANT LAMP 2006 \nSANDRA LINDNER \nP 194 \nCYPRIS MIRROR 2015 \nNINA MAIR \nP 192\nP 93\n",95,{"image":364,"text":365,"number":366},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.96.png","BIBENDUM ARMCHAIR 1926 \nEILEEN GRAY \nP 188\nPLI SIDE TABLE LOW + HIGH 2016 + 2017 \nVICTORIA WILMOTTE \nP 191\nBONAPARTE ARMCHAIR 1935 \nEILEEN GRAY \nP 188\n",96,{"image":368,"text":369,"number":370},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.97.png","P 95\n",97,{"image":372,"text":373,"number":374},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.98.png","  Max Mader, Sales Manager \n“I have a Tube Light at home,  \n I love the classic’s casual industrial  \n look. The design could have been  \n made today.” \nMUNICH LOUNGE CHAIR 2009 \nSAUERBRUCH HUTTON \nP 189\nPALLAS TABLE 2003 \nKONSTANTIN GRCIC \nP 191\nMUNICH ARMCHAIR 2011 \nSAUERBRUCH HUTTON \nP 188\nBELL LIGHT PENDANT LAMP 2013 \nSEBASTIAN HERKNER \nP 194\n",98,{"image":376,"text":377,"number":378},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.99.png","P 97\n",99,{"image":380,"text":15,"number":381},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.100.png",100,{"image":383,"text":384,"number":385},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.101.png","*Contrast stitching exclusively for premium leather\nMUNICH ARMCHAIR* 2011 \nSAUERBRUCH HUTTON \nP 188\nMUNICH LOUNGE CHAIR 2009 \nSAUERBRUCH HUTTON \nP 189\nP 99\n",101,{"image":387,"text":15,"number":388},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.102.png",102,{"image":390,"text":391,"number":392},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.103.png","TAIDGH SHELF C 2019 \nTAIDGH O‘NEILL \nP 192\nSATURN COAT STAND 2007 \nBARBER OSGERBY \nP 193\nP 101\n",103,{"image":394,"text":15,"number":395},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.104.png",104,{"image":397,"text":398,"number":399},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.105.png","PEGASUS HOME DESK 2014 \nTILLA GOLDBERG \nP 192\nBELL LIGHT PENDANT LAMP 2013 \nSEBASTIAN HERKNER \nP 194\nMUNICH ARMCHAIR 2011 \nSAUERBRUCH HUTTON \nP 188\nSATURN COAT STAND 2007 \nBARBER OSGERBY \nP 193\nP 103\n",105,{"image":401,"text":15,"number":402},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.106.png",106,{"image":404,"text":405,"number":406},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.107.png","PEGASUS HOME DESK 2014 \nTILLA GOLDBERG \nP 192\nPLISSÉE FLOOR LAMP 2020 \nSEBASTIAN HERKNER \nP 194\nP 105\n",107,{"image":408,"text":15,"number":409},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.108.png",108,{"image":411,"text":412,"number":413},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.109.png","ORCUS HOME DESK 1993 \nKONSTANTIN GRCIC \nP 192\nVENUS CHAIR 2006 \nKONSTANTIN GRCIC \nP 188\nORBIS FLOOR LAMP 1994 \nHERBERT H. SCHULTES \nP 194\nORBIS DESK LAMP 1994 \nHERBERT H. SCHULTES \nP 194\nP 107\n",109,{"image":415,"text":416,"number":417},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.110.png","ORCUS HOME DESK 1993 \nKONSTANTIN GRCIC \nP 192\nROQUEBRUNE CHAIR 1927 \nEILEEN GRAY \nP 188\nORBIS FLOOR LAMP 1994 \nHERBERT H. SCHULTES \nP 194\nVASE 2014 \nCLASSICON \nP 193\nORBIS DESK LAMP 1994 \nHERBERT H. SCHULTES \nP 194\n",110,{"image":419,"text":420,"number":421},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.111.png","P 109\n",111,{"image":423,"text":424,"number":425},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.112.png","TRITON BAR STOOL 2007 \nCLEMENS WEISSHAAR \nP 189\nCYPRIS MIRROR 2015 \nNINA MAIR \nP 192\nBOWL 2014 \nCLASSICON \nP 193\nBELL LIGHT PENDANT LAMP 2013 \nSEBASTIAN HERKNER \nP 194\nROQUEBRUNE RUG 1926-1935 \nEILEEN GRAY \nP 194\n",112,{"image":427,"text":428,"number":429},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.113.png","P 111\n",113,{"image":431,"text":15,"number":432},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.114.png",114,{"image":434,"text":435,"number":436},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.115.png","NYMPHENBURG COAT STAND 1908 \nOTTO BLÜMEL \nP 193\nUSHA UMBRELLA STAND 1932 \nECKART MUTHESIUS \nP 193\nDAY BED 1925 \nEILEEN GRAY \nP 189\nADJUSTABLE TABLE E1027 1927 \nEILEEN GRAY \nP 190\nTUBE LIGHT FLOOR LAMP 1927 \nEILEEN GRAY \nP 194\nP 113\n",115,{"image":438,"text":439,"number":440},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.116.png","ADJUSTABLE TABLE E1027 1927 \nEILEEN GRAY \nP 190\nMONTE CARLO SOFA 1929 \nEILEEN GRAY \nP 189\n",116,{"image":442,"text":443,"number":444},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.117.png","  Michael Vilgertshofer and Dr. Michael Jilek, Attorneys-at-Law\n“Plagiarisms are theft of intellectual property.”\nP 115\n",117,{"image":446,"text":15,"number":447},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.118.png",118,{"image":449,"text":450,"number":451},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.119.png","SATISH BAR STOOL 1931 \nECKART MUTHESIUS \nP 189\nPIEGA MIRROR OBJECT LARGE 2018 \nVICTORIA WILMOTTE \nP 192\nBAR STOOL NO. 2 1928 \nEILEEN GRAY \nP 189\nBAR STOOL NO. 1 1928 \nEILEEN GRAY \nP 189\nBELL LIGHT PENDANT LAMP 2013 \nSEBASTIAN HERKNER \nP 194\nP 117\n",119,{"image":453,"text":454,"number":455},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.120.png","BOW COFFEE TABLE NO. 5 + 4 + 3 2018 \nGUILHERME TORRES \nP 190\n",120,{"image":457,"text":458,"number":459},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.121.png","P 119\n",121,{"image":461,"text":462,"number":463},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.122.png","ROQUEBRUNE CHAIR 1927 \nEILEEN GRAY \nP 188\nJEAN TABLE 1929 \nEILEEN GRAY \nP 191\nP 120\n",122,{"image":465,"text":15,"number":466},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.123.png",123,{"image":468,"text":469,"number":470},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.124.png","P 122\n",124,{"image":472,"text":473,"number":474},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.125.png","ROQUEBRUNE CHAIR 1927 \nEILEEN GRAY \nP 188\nDOUBLE X TABLE 1928 \nEILEEN GRAY \nP 191\nRIVOLI TABLE 1928 \nEILEEN GRAY \nP 191\n",125,{"image":476,"text":477,"number":478},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.126.png","FOLDING SCREEN 1930 \nEILEEN GRAY \nP 192\nNON CONFORMIST ARMCHAIR 1926 \nEILEEN GRAY \nP 188\nOCCASIONAL TABLE 1927 \nEILEEN GRAY \nP 191\nWENDINGEN RUG 1926-1935 \nEILEEN GRAY \nP 194\nSELENE PENDANT LAMP 2006 \nSANDRA LINDNER \nP 194\n",126,{"image":480,"text":481,"number":482},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.127.png","P 125\n",127,{"image":484,"text":485,"number":486},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.128.png","FOLDING SCREEN 1930 \nEILEEN GRAY \nP 192\nCASTELLAR MIRROR 1927 \nEILEEN GRAY \nP 192\nBAR STOOL NO. 1 1928 \nEILEEN GRAY \nP 189\nPETITE COIFFEUSE 1926 \nEILEEN GRAY \nP 191\nP 126\n",128,{"image":488,"text":15,"number":489},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.129.png",129,{"image":491,"text":492,"number":493},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.130.png","DE STIJL TABLE 1922 \nEILEEN GRAY \nP 190\nMONTE CARLO SOFA 1929 \nEILEEN GRAY \nP 189\nST. TROPEZ RUG 1926-1935 \nEILEEN GRAY \nP 194\nADJUSTABLE TABLE E1027 1927 \nEILEEN GRAY \nP 190\nSATURN COAT STAND 2007 \nBARBER OSGERBY \nP 193\n",130,{"image":495,"text":496,"number":497},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.131.png","P 129\n",131,{"image":499,"text":15,"number":500},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.132.png",132,{"image":502,"text":503,"number":504},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.133.png","LOU PEROU TABLE 1926 \nEILEEN GRAY \nP 191\nBELL SIDE TABLE 2012 \nSEBASTIAN HERKNER \nP 190\nCHAOS CHAIR 2001 \nKONSTANTIN GRCIC \nP 188\nP 131\n",133,{"image":506,"text":507,"number":508},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.134.png","TUBE LIGHT FLOOR LAMP 1927 \nEILEEN GRAY \nP 194\nULISSE DAYBED 2016 \nKONSTANTIN GRCIC \nP 189\nDIANA A SIDE TABLE 2002 \nKONSTANTIN GRCIC \nP 190\n",134,{"image":510,"text":511,"number":512},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.135.png","P 133\n",135,{"image":514,"text":515,"number":516},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.136.png","DIANA SIDE TABLE C + A + B 2002 \nKONSTANTIN GRCIC \nP 190\nSELENE PENDANT LAMP 2006 \nSANDRA LINDNER \nP 194\nPARIS SHELF 2005 \nBARBER OSGERBY \nP 192\nVASE 2014 \nCLASSICON \nP 193\nNOTOS STANDING DESK 1997 \nTHOMAS KÜHL + ANDREAS KROB \nP 193\nORBIS FLOOR LAMP 1994 \nHERBERT H. SCHULTES \nP 194\n",136,{"image":518,"text":519,"number":520},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.137.png","P 135\n",137,{"image":522,"text":523,"number":524},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.138.png","  Luisa Siepmann and Ferdinand Böninger,  \n  Digital Marketing Manager and Student\n“Ferdinand grew up with ClassiCon  \n furniture. The pieces are closely  \n connected with his family. And they  \n also have an enduring place in our  \n own home.” \n",138,{"image":526,"text":527,"number":528},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.139.png","ODIN SOFA 2005 \nKONSTANTIN GRCIC \nP 189\nROATTINO FLOOR LAMP 1931 \nEILEEN GRAY \nP 194\nADJUSTABLE TABLE E1027 1927 \nEILEEN GRAY \nP 190\nP 137\n",139,{"image":530,"text":531,"number":532},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.140.png","ZELOS HOME DESK 2008 \nCHRISTOPH BÖNINGER \nP 192\nSAX SIDE TABLE 2017 \nCHRISTOPH BÖNINGER \nP 191\n",140,{"image":534,"text":535,"number":536},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.141.png","P 139\n",141,{"image":538,"text":539,"number":540},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.142.png","PARIS SHELF 2005 \nBARBER OSGERBY \nP 192\n",142,{"image":542,"text":543,"number":544},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.143.png","P 141\n",143,{"image":546,"text":15,"number":547},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.144.png",144,{"image":549,"text":550,"number":551},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.145.png","ROATTINO FLOOR LAMP 1931 \nEILEEN GRAY \nP 194\nBIBENDUM ARMCHAIR 1926 \nEILEEN GRAY \nP 188\nPETITE COIFFEUSE 1926 \nEILEEN GRAY \nP 191\nSELENE PENDANT LAMP 2006 \nSANDRA LINDNER \nP 194\nP 143\n",145,{"image":553,"text":554,"number":555},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.146.png","TADAIMA CONSOLE 2017 \nA+A COOREN \nP 193\n",146,{"image":557,"text":558,"number":559},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.147.png","Oliver Holy’s\nMunich\nOliver Holy has been living in Munich for 25 years. And as much as the owner of ClassiCon may travel around the \nworld, he would not want to live anywhere else. The city always influences and surprises him anew; hence, it also \nbecomes an inspiration for the ClassiCon collection. He showed locations that make the city his own to design editor \nGabriele Thiels. \nP 145\n",147,{"image":561,"text":15,"number":562},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.148.png",148,{"image":564,"text":565,"number":566},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.149.png"," \nThe ocean can be found in the centre of Munich. You can reach \nit through a discrete entrance in the former Residenzpost, a glamorous \npalazzo right across from the State Opera. The temporary video instal-\nlation “Voir la Mer” is on display at the “Espace Louis Vuitton”: French \nartist Sophie Calle filmed people who are doing precisely that for the first \ntime in their lives: “seeing the ocean”. The view is of their backs with the \nwater in front of them, its murmur filling the space. And then they turn \naround, each of them in their own time, and their faces reveal emotion, \njoy, disbelief. \n \n“Look, the old gentleman has to close his eyes as he faces \nthe unfathomable,” says Oliver Holy with fascination. “And there, a \nseasoned man is almost moved to tears. His glazed look is so emotional \nthat it is truly touching!” Holy is the owner of ClassiCon, and he could \nhave invited me to the Munich district of Riem, to the spectacularly \npurist headquarters of his company, where the entire style-defining \nfurniture collection that has been bringing international reputation to \nhis company and himself for many years is on display in two spacious \nshowrooms – from classics, such as Eileen Gray’s “Adjustable Table \nE1027”, to contemporary icons like Sebastian Herkner’s “Bell Table”, \nto newer objects including “Piega”, a sculptural wall-mounted mirror \nobject designed by Victoria Wilmotte. Instead, he prefers to lead you \ninto this exhibition space for contemporary art and gets fascinated with \npeople with whom, at first glance, he has nothing in common. At second \nglance, however, they experience in a pure way what he is always seeking \nand what is the key to his success: the overwhelming impression the \ndiscovery of the unknown can provide.\nP 147\n",149,{"image":568,"text":569,"number":570},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.150.png"," \nAlthough born in the Swabian city of Metzingen, Oliver \nHoly has been living in Munich for around 25 years and has compiled \na small tour through his adopted city. He takes you to places that are \nrepresentative of the city to him and that he likes to share with others. \nYou get to know him well along the way, although – or especially \nbecause – neither furniture stores nor big art museums are on the list. \n“Why should I look at the one hundredth chair? Or the one hundredth \nPollock, Warhol, Chamberlain? They’re all beautiful, but I won’t discover \nanything new,” he says. “And I always need something new.” So instead: a \nbar, a watch shop, a pastry shop – and the “Espace Louis Vuitton”, which \nis still an insider tip, although it opened in 2014. “Hardly anybody knows \nabout it,” Oliver Holy says. His mother pointed it out to him, and “she \nhas a good sense for such art projects.” Since then, he hasn’t missed a \nsingle exhibition. \n \nHe loves contemporary art and has been casually collecting it \never since he wished for his first painting at the age of 18. He likes to \nvisit galleries – in Germany, the United States, Argentina or wherever \nhis many travels may take him. He also enjoys browsing through auction \ncatalogues; however, he does not become engrossed in them but simply \nenjoys browsing through the pages. This opens the eyes and releases \nenergies that benefit the ClassiCon collection. He discovered Victoria \nWilmotte’s “Pli Table” with its base made of folded, high-gloss polished \nstainless steel that looks like glass, for example, in an art magazine. The \nFrench designer usually works in the field of tension between sculpture \nand design and exhibits her designs in galleries. Oliver Holy went to see \nher and convinced her to develop the “Pli Table” for series production \nwith him.\n \nThis is a continuous pattern. Instead of “looking through the \nfurniture glasses”, as Oliver Holy puts it, with his unerring instinct for \nquality, he collects impressions wherever creativity and craftsmanship \nproduce something special. It might be an Indian saddle blanket, \nhand-woven of dyed indigo around 1870 and incredibly soft, or a pair \nof elephants made of Nymphenburg porcelain (“I circled around them \nso many times until my girlfriend finally understood: I wanted to have \nthem.”), Brutalist architecture or merely an invitation card that has a \nparticularly beautiful design, which he then pins on his cabinet at the \noffice. Some of these things he affords, some he only touches (“I’m a truly \nextreme haptic.”) and everything piles up in his mind to form a fertile \nmound upon which his intuition flourishes.\n \n“I do what I like,” says Oliver Holy. “We know the saying ‘self-\npraise stinks’ but I believe that I can presage sooner than others what will \nbe interesting for the market.” Therefore, ClassiCon only realises designs \nthat almost nobody else would dare tackle. He pushed through with the \n“Bell Table”, for example, after seeing a prototype pictured in an English \nlanguage Wallpaper magazine, although it posed major production \nchallenges with its coloured glass base and brass funnel, and it really did \nnot fit in with the portfolio at the time. Today, the table can rightly be \ncalled a modern classic – and it’s also a bestseller.\n",150,{"image":572,"text":573,"number":574},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.151.png"," \nOur day started in Charles Schumann’s “Tagesbar” – Charles \nis a man who also does what he likes and has become one of the most fa-\nmous barkeepers in the world. “His original business, the ‘Schumann’s’, \nis an institution in Munich,” says Oliver Holy. The design entrepreneur \nstarts his day at the “Tagesbar” whenever his schedule allows for it. He \norders a latte, buttered pretzel, cold cuts and an egg – “I do love breakfast” \n– and almost feels like he’s at home. He appreciates the unpretentious \nyet attentive service, the sense of quality that speaks to him from every \ndetail and the overall casual welcome culture that prevails here. Charles \nSchumann is as famous for all of that as he is for his intransigence. His \nguests like what he likes, and he must like his guests. “Charles is his own \ndoorman,” says Oliver Holy. He and his two younger siblings were taken \nto the “Schumann’s”, which is also a restaurant, by their parents when \nthey were teenagers. To this day, it is the family’s favourite meeting place \n– and that sentiment is shared by many designers, gallerists and artists. \nThis place is “a creative hub”, and the atmosphere is cosmopolitan and \ninspiring in a very special way. “You won’t even find this in New York,” \nhe explains, and his American business friends agree with him.\nP 149\n",151,{"image":576,"text":577,"number":578},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.152.png"," \n“Bachmann & Scher” is located at Promenadenplatz, just a few \nminutes from the “Tagesbar”. The small, stylish watch shop is specialised \nin high end vintage models for which Oliver Holy has a fondness. \nInternational collectors treasure the address, but he is not one of them. \nHe simply prefers old watches to new ones. “This has always been my \npassion. I like the haptics, the fact that the mechanism runs harder or \nsofter – in a sense, each watch has its own personality.” He wears his \nwatches day and night, does not even take them off while sleeping or \ntaking a shower, and especially not when he jumps into the Tegernsee. \n“That’s why my first question always is whether it’s waterproof? And, if \nit’s not, can it be waterproofed?” The Tudor watch he is looking at should \nbe waterproof: a Submariner “Snowflake” (because one of the hands \nlooks like one), made in 1979. It was produced for the French marines \nand worn by elite divers, as Joram Scher, one of the two owners, explains. \nThat would fit Oliver Holy well. Although he is bound to a wheelchair \ndue to a skiing accident at the age of eight, he is a daredevil in sports: he \nskis, water skis and rides a racing bike. Joram Scher grins: “Oli, you not \nonly have good taste but you also have a good nose.” The model turns out \nto be an ultra-rare item, published in an opulent watch catalogue and \ntherefore even more valuable. “I simply like it,” Oliver Holy says plainly. \nHe says that he will think about it, and we move on to Silvia Stancsics’ \n“Schoko.laden” right around the corner.\n",152,{"image":580,"text":581,"number":582},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.153.png"," \nWere it not for the breathtakingly fine smell of chocolate, one \nmight think that this confectionery shop was a magnificent workshop of \na goldsmith due to its futuristic ambience. Like jewels, the pralines – all \nhand-made, of course, and based on the owner’s designs – are presented \non the curved counter. Fruit truffles in soft violet, red or green, with \nperfect surfaces and gold dust décor that looks like it was added with \nan airbrush: the designs are just as sophisticated and delightful as the \nflavours. “This is crazy, isn’t it?”, remarks Oliver Holy as he gives you \na tour through the products. “You must try the mango truffles! My \nentire family loves them.” – “You have to eat the caramel sea salt praline \nwhole; because it has a liquid filling.” And as the chocolate melts on your \ntongue, you realise that the statement once made by Markus Lüpertz \nabout his custom-tailored shirts and glamorous rings applies to all of \nthem – to the chocolates and the watches, the Nymphenburg porcelain \nand the art and, basically, to all things about which Oliver Holy becomes \ninfectiously enthusiastic: all these things are “compliments to life”. \nHowever, while it may have sounded a bit grumpy and pretentious \ncoming out of the mouth of the painter-prince from Düsseldorf, it is \nentirely unpretentious and characterised by Swabian modesty with \nregard to Oliver Holy.\nP 151\n",153,{"image":584,"text":585,"number":586},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.154.png"," \nWe were on our tour for a long while, and we took our time to \nexperience Oliver Holy’s Munich. It is cosmopolitan and down-to-earth, \ngenerous within a concentrated space and characterised by a sense of \nquality that you can see, touch and taste. \n \nAt the end, he reveals one of his favourite places outside of \nMunich’s city limits: the “Herzogliches Bräustüberl Tegernsee”. The \nformer brewery and tavern, the history of which dates back to 1675, is \nclosely connected with his youth: “I grew up on Tegernsee, attended the \nhigh school that’s in the same building as the ‘Bräustüberl’. This special \ntavern has always been a regular meeting place for our family, especially \nduring the Christmas holidays. There are so many memories connected \nto it!”\n \nIt is a good mix: the style and glamour of Munich, but also the \nsubstance of this city and the down-to-earth atmosphere of Tegernsee. \nOliver Holy personifies this mix. \n",154,{"image":588,"text":589,"number":590},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.155.png","“The ‘Bräustüberl’ has always been a regular meeting place  \n for our family. There are so many memories connected to it!”\nP 153\n",155,{"image":592,"text":15,"number":593},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.156.png",156,{"image":595,"text":596,"number":597},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.157.png","Thinking with\nthe Hands\nClassiCon furniture is handmade. To achieve this, the small company works with a network of experts: small, owner-\nmanaged handicraft businesses that dare to venture into uncharted territory armed with traditional knowledge. \nP 155\n",157,{"image":599,"text":600,"number":601},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.158.png"," \nIt takes no small amount of courage to take that step. So does \ntaking part in an international design trade show as a furniture brand \nwhile barely presenting a single piece of furniture, or celebrating the \nhandicraft production without showing a single hand. Instead: faces. In \nclose-ups, larger than life, covered with sweat and highly focused, they \nappear on the screens of a video installation through which ClassiCon \nwas represented at the renowned “Designers’ Saturday” trade fair. \nThe concept was created by designer Sebastian Herkner. He had the \nglassblowers who make the coloured base of his “Bell Table” filmed \nas they worked. Their mimicry alone conveys the sense that they are \ndoing both strenuous and precise work, and the appreciation becomes \nnoticeable especially in close-ups that focus entirely on the people. For \nHerkner and ClassiCon, these men are “heroes”. And that is the title of \nthe installation. It received the honour of winning the trade fair’s “Grand \nPrix”, and it says everything about the importance of handicraft for \nClassiCon as well as the challenge for the manufacturers with whom the \ncompany works. It also clarifies how the relationship contributes to the \nidentity of both parties. \n \nClassiCon has its furniture produced by craftspeople, enabling \ndesigns that exploit and expand the possibilities of handicraft. In the case \nof Eileen Gray’s famous “Brick Screen” designed in 1925, the flawlessness \nof the surfaces is part of the design. It is achieved by coating each of the \nmovable panels with piano lacquer, sanding them by hand, and lacquering \nthem again – eight times in total, as is the case with a grand piano – at \na workshop that, coincidentally, is specialised in making grand pianos. \nThe “Mars” chair, designed by Konstantin Grcic in 2003, looks like it was \nfolded from a complex cut-out sheet. The special difficulty is to add a \nfabric or leather cover to its surface geometry of slanted planes and edges \nthat not only fits like a second skin but also emphasises each of the folds \nwith a straight, ornamental seam. For the highly skilled and experienced \nupholsterers, this demands the maximum degree of precision.\n \nThe “Euvira Rocking Chair” by Brazilian designer Jader \nAlmeida (2013) draws its characteristic lightness from the two side \nelements, above all. The trapezoid frames made of solid oak form the \narmrests and skids, slightly tapering on the top and bottom. Their \nsurfaces flow from straight to organically formed shapes; the subtle \ncurve in the wood that creates this effect is turned and sanded by hand – \nand a small masterpiece in itself.\n",158,{"image":603,"text":604,"number":605},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.159.png","P 157\n",159,{"image":607,"text":608,"number":609},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.160.png","P 158\n",160,{"image":611,"text":612,"number":613},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.161.png","detailed weaving pattern of the seat and backrest and to find the right \nproportions, also in relation with the chair’s frame. “It was immediately \nclear that if we really wanted to learn something, we could not work with \nscale models. From the beginning, the only way was a 1:1 scale, with the \nactual material and seat shell.” This is unusual and complicated under \nnormal circumstances, but it entirely conforms to the “Let’s go whole \nhog” principle, which is also typical for ClassiCon itself. The specialist, \nwho grew up in a town with 250 years of weaving tradition, fearlessly \ntackled the project down to the smallest details: a leather trim at the neck \nof the seat shell, for example, occupied him for several days (“Should it \nbe glued or stitched?”); he made phone calls to experts in gluing (“They \ncan really be super-cumbersome!”), tinkered on the perfect bottom view \ntogether with the designer (“How can you invisibly staple onto wood?”), \nand on textile linings that gave the leather straps stability. “You’re dealing \nwith people who want to develop something,” he says about ClassiCon, \nand the reverse applies, as well.\n \nFor the tabletop of the “Pegasus” desk, a leather manufactory \nin northern Italy found the solution: thin metal rods are hidden in the \nsaddle leather of the flexible tabletop, providing both flexibility and \nstability, “as is the case with a corset”, as the managing director explains. \nMagnets fix it to the desk and give it form: “We receive the drawing and \ndevelop an idea from it.” Of course, this requires profound knowledge \nof the nature and quality of the material, its thickness, flexibility and \nsurface. The company is now in its second generation of ownership, \nand “there has been quite a bit of knowledge amassed regarding what is \npossible and what is not.”\n \nThis kind of furniture requires a network of specialists, \nmanufacturers that dare to venture into uncharted territory armed with \ntraditional knowledge and come up with solutions beyond the standards \nof serial machine production. Usually, these are small to medium sized \nhandicraft businesses, owner-managed like ClassiCon, with both short \ndecision-making paths and a comparably large degree of willingness \nto think outside the box. Especially because the orders are unusual and \nhighly demanding for the manufacturers, the search for such businesses \ncan essentially be considered part of the design process. Most of them \nare based in Germany, and many are even located in the Munich region, \nwhere excellent and highly specialised handicraft people have always \nlived. “The expertise is available right outside our doorstep,” says Oliver \nHoly. “Of course, we use and promote it.”\n \nDesigner Sebastian Herkner believes that “without the handi-\ncraft people, we may as well pack up and leave”, and his colleague Tilla \nGoldberg is certain that “the businesses with absolute passion and \nambition for their own craft are what enable collector’s items such as \nthe ClassiCon furniture”. The Stuttgart based designer, a partner of \nIppolito Fleitz Group, designed the “Pegasus” desk for ClassiCon. It has \na tabletop made of saddle leather which is rolled up instead of folded \nup. She also created the “Aërias” chair – and reinterpreted the classic \n“Vienna canework” as an XL pattern and in leather (instead of cane). \nBoth are designs whose realisation is not obvious; it first had to be found \nthrough trial-and-error. \n \n“Manual re-thinking” is what the Westphalian basket weaver \nwith whom she developed “Aërias” calls it. “The leather did not scare me \noff,” he says. The challenge was to enlarge the well-known, small and \n",161,{"image":615,"text":616,"number":617},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.162.png"," \nMany companies preserve their expertise for decades, and \nsometimes it is slumbering beneath the surface and must be rediscovered \nand awakened. In such cases, Tilla Goldberg digs deeper: “If you can \ndo all of that, perhaps you can also do this?” Usually, the owners start \nrecalling how their parents or even grandparents dealt with a comparable \ndetail. “‘Let me sleep on it over the weekend’ is a sentence I often hear,” \nshe says. “You see the sparkle in their eyes and know that they’re already \nthinking about it.” Sometimes, she gets an email exclaiming “I got it!” \nand the solution at four o’clock in the morning.\n \nIt is reasonable to compare ClassiCon furniture with haute \ncouture. Its production, as is the case in the top tier of fashion, keeps \nspecial knowledge and skills from disappearing. They remain alive \nbecause they are newly challenged time and again. The glass blowing \nworkshop manufacturing the base for Sebastian Herkner’s “Bell Table” \nis a perfect example. Founded in 1544 and still family-managed, it has \npreserved the knowledge of classic products such as goblets, vases and \nbottles for 15 generations. However, the market for them has become \nincreasingly smaller, and competition from Czechia increasingly \nbigger. Dealing with the production of the big, heavy bases of the “Bell \nTable”, which consist of a single piece, was an entirely new challenge: \n15 kilograms of hot glass that must be held by the blower, turned and \nblown in a large, manually wood-turned mould, over and over until the \ncharacteristic bell shape emerges. The wooden moulds are dark, and “the \nglass blowers are practically blowing into the abyss,” Sebastian Herkner \nexplains. “And yet they know when the glass reaches the bottom of the \nmould, when it rises at the sides, and when it has the same thickness \neverywhere.” This requires experience. It takes between four and five \nyears before a craftsperson is skilled enough, and the youngsters among \nthem are only allowed to make the last piece of a base as training. “Before \nthe lunch break or the end of the working day,” says the manager. His \nbusiness has gained a new, contemporary profile due to the “Bell Table”. \nAt the same time, it has remained true to itself. It, too, has now become \nboth “classic” and “contemporary”.\n",162,{"image":619,"text":620,"number":621},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.163.png","P 161\n",163,{"image":623,"text":624,"number":625},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.164.png","Our furniture is a commitment to substance and quality – in private spaces as \nwell as in offices, lobbies, business premises and hotels. We closely cooperate \nwith designers and manufacturers and are therefore able to quickly and reliably \nrealise individual requests. Matching the appropriate project and the person \nbehind it.\nP 162\n",164,{"image":627,"text":628,"number":629},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.165.png","Contract\n",165,{"image":631,"text":632,"number":633},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.166.png","HOTEL DE TOURREL, ST.-RÉMY-DE-PROVENCE \u002F F\nIn the centre of the old village, in a 17th century palais, the hotel with its  \ngenerous suites also features a wine bar and a Michelin starred restaurant offering \nnew Mediterranean cuisine. The original character of the former residence of \nthe noble Tourrel d’Almeran family was complemented with furniture from the \nClassiCon collection – including designs by Konstantin Grcic, Jader Almeida,  \nand Eileen Gray.\nBELL TABLE\nLOTA SOFA, BIBENDUM ARMCHAIR, OCCASIONAL TABLE,  \nST. TROPEZ RUG, MENTON TABLE \nTRITON BAR STOOL\nNON CONFORMIST ARMCHAIR,  \nADJUSTABLE TABLE E1027\n",166,{"image":635,"text":636,"number":637},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.167.png","MICHELIN STARRED RESTAURANT GOLVET, BERLIN \u002F DE\nThe Michelin starred Golvet restaurant is one of the best culinary \naddresses in Berlin. The architecture is also sensational: from the ninth \nfloor of a corner building on Potsdamer Straße, the restaurant offers \nspectacular panoramic views of the city. Munich Armchairs by Sauer-\nbruch Hutton were chosen to accentuate the impressive design. \nMUNICH ARMCHAIR\nP 165\n",167,{"image":639,"text":640,"number":641},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.168.png","PORSCHE STUDIO CHEONGDAM, SEOUL \u002F KR\nWith the “Porsche Studio” concept, the Munich based creative office Designliga provides  \nan answer to the question about what automotive retail might look like in the future. In inner \ncity locations, Porsche invites visitors to a place where identity becomes an experience for  \nall the senses: a private home setting. ClassiCon designs by Sandra Lindner, Neri&Hu and \nBarber Osgerby are decisive elements of the innovative interior concept. \n \nMUNICH SOFA, SELENE PENDANT LAMP\nSEDAN LOUNGE CHAIR, SATURN COAT STAND\nSEDAN LOUNGE CHAIR, SELENE PENDANT LAMP\nP 166\n",168,{"image":643,"text":644,"number":645},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.169.png","THE WORK PROJECT, SINGAPORE \u002F SG \nThe Work Project sets new standards in the design of work areas. The co-working spaces  \nof the provider in Singapore and Hong Kong combine luxury, service and design. Furniture \nincluding Sebastian Herkner’s Bell Table and Eileen Gray’s Bibendum Armchair are part  \nof the spatial concept oriented towards communication and exchange. \n \nBELL TABLE\nBIBENDUM ARMCHAIR\nADJUSTABLE TABLE E1027\n",169,{"image":647,"text":648,"number":649},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.170.png","FAIRMONT HOTEL  \nVIER JAHRESZEITEN\nHAMBURG, PLI SIDE TABLE\nNORDSTROM  \nFLAGSHIP STORE\nNEW YORK, BELL TABLE\nFOUR SEASONS HOTEL\nNEW YORK, BELL TABLE\nNEW YORK BAR \nESTREL\nBERLIN, PLI SIDE TABLE, BOW COFFEE TABLE\nSEINE 62 - CAMPUS L‘ORÉAL\nLEVALLOIS-PERRET \u002F PARIS, BELL TABLE, SELENE PENDANT LAMP\nHILTON HOTEL \nBRISBANE,  \nMUNICH LOUNGE CHAIR\nRELAIS & CHÂTEAUX MAMMERTSBERG\nFREIDORF, MUNICH ARMCHAIR\nAESOP STORE\nLONDON, SELENE PENDANT LAMP\nTHE PIER,  \nCATHAY PACIFIC’S BUSINESS CLASS LOUNGE \nHONG KONG INTERNATIONAL AIRPORT, SELENE PENDANT LAMP\n",170,{"image":651,"text":652,"number":653},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.171.png","JW MARRIOTT  \nRESORT & SPA\nVENICE, SELENE PENDANT LAMP\nMUNICH RE GROUP\nMUNICH, MUNICH LOUNGE CHAIR\nCHANGI LOUNGE \nJEWEL CHANGI AIRPORT\nSINGAPORE, BOW COFFEE TABLE, LANTERN LIGHT TABLE LAMP\nAUDEMARS PIGUET \nLOUNGE GALLERY \nWEEKEND BERLIN\nBERLIN, BAR STOOL NO. 2\nJIMMY CHOO STORE\nLONDON, BELL TABLE\nTHE ST. REGIS HOTEL\nISTANBUL, BELL TABLE COPPER, ADJUSTABLE TABLE E1027\nLE LABO\nMELBOURNE, ODIN SOFA\nOUTLETCITY \nHEADQUARTERS\nMETZINGEN,  \nSELENE PENDANT LAMP\nJUNSHAN CULTURAL CENTER\nBEIJING, SEDAN LOUNGE CHAIR\n",171,{"image":655,"text":656,"number":657},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.172.png","ERSTE CAMPUS\nVIENNA, MUNICH SOFA\nSTEINWAY & SONS\nMUNICH, BOW COFFEE TABLE, SEDAN LOUNGE CHAIR\nBEIRUT TERRACES \nRESIDENCES \nBEIRUT, SELENE PENDANT LAMP\nSULWHASOO FLAGSHIP STORE\nSEOUL, SEDAN LOUNGE CHAIR\nFOUR SEASONS HOTEL\nSAN FRANCISCO, ADJUSTABLE TABLE E1027\nW HOTEL \nISTANBUL, BELL TABLE, EUVIRA ROCKING CHAIR\nRELAIS DE CHAMBORD\nCHAMBORD, PIEGA MIRROR OBJECT\nSELFRIDGES  \nDEPARTMENT STORE\nLONDON, SEDAN LOUNGE CHAIR\n",172,{"image":659,"text":660,"number":661},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.173.png","NACHMANN LAWYERS\nMUNICH, BIBENDUM ARMCHAIR,  \nOCCASIONAL TABLE\nINTERCONTINENTAL\nLJUBLJANA, BELL TABLE\nFACHHOCHSCHULE \nNORDWESTSCHWEIZ\nMUTTENZ, EUVIRA LOUNGE CHAIR\nCREUTZ & PARTNERS  \nGLOBAL ASSET MANAGEMENT\nBEILER, TRITON BAR STOOL\nLONELY BOUTIQUE\nAUCKLAND, BIBENDUM ARMCHAIR\nSHERATON GRAND TBILISI METECHI PALACE\nTBILISI, EUVIRA ROCKING CHAIR, BELL TABLE\nTHE SUKHOTHAI \nSHANGHAI, BELL TABLE\nSHIPPING COMPANY\nLONDON,  \nSELENE PENDANT LAMP\nJEAN-GEORGES\nSHANGHAI,  \nSEDAN LOUNGE CHAIR\n",173,{"image":663,"text":664,"number":665},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.174.png","P 172\n",174,{"image":667,"text":668,"number":669},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.175.png","EILEEN GRAY EXHIBITION \nBARD GRADUATE CENTER \nNEW YORK, USA\nDesigns from the ClassiCon collection can be \nfound in museum collections around the world:\nMUSEUM OF MODERN ART NEW YORK, USA\nCENTRE POMPIDOU PARIS, FRANCE\nNATIONAL MUSEUM OF IRELAND DUBLIN, IRELAND\nLOUISIANA MUSEUM OF MODERN ART COPENHAGEN, DENMARK\nVICTORIA & ALBERT MUSEUM LONDON, UNITED KINGDOM\nMUSÉE DES ARTS DÉCORATIFS PARIS, FRANCE\nMUSEUM OF MODERN ART SAN FRANCISCO, USA\nTHE CHICAGO ATHEANEUM CHICAGO, USA\nTHE INTERNATIONAL MUSEUM OF DESIGN LONDON, UNITED KINGDOM\nMUSEUM OF MODERN ART PHILADELPHIA, USA\nTEL AVIV MUSEUM OF ART TEL AVIV, ISRAEL\nMUSÉE DES ARTS DÉCORATIFS ET DU DESIGN GHENT, BELGIUM\nMUSEUM FÜR GESTALTUNG ZURICH, SWITZERLAND\nARCHITEKTUR-MUSEUM FRANKFURT AM MAIN, GERMANY\nVITRA DESIGN MUSEUM WEIL AM RHEIN, GERMANY\nDESIGN CENTER STUTTGART, GERMANY\nDIE NEUE SAMMLUNG MUNICH, GERMANY\n",175,{"image":671,"text":672,"number":673},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.176.png","Responsibility for  \nMasterpieces of Design\n",176,{"image":675,"text":676,"number":677},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.177.png","Eileen Gray \nCollection\nClassiCon produces and distributes the Eileen Gray Collection as the sole licensee of Aram Designs Ltd., London.  \nIn the 1970s, the designer worked with Zeev Aram to ready her furniture and lamps for series production for the first \ntime. In 1973, she granted the worldwide rights for the production and distribution of her designs to Aram Designs \nLtd., London. As a longstanding partner and licensee authorised by Aram, we guarantee a high-quality production \nof the Eileen Gray Collection, absolutely true to the authorised designs. Eileen Gray’s embossed signature and the \nClassiCon logo prove that these pieces of furniture were produced with the approval from the rights owners. For the \nproduction, we also guarantee compliance with all environmental requirements, the use of high-quality materials  \nand processing methods, as well as meticulous final quality control.\n \nP 175\n",177,{"image":679,"text":15,"number":680},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.178.png",178,{"image":682,"text":683,"number":684},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.179.png"," \nIn 2009, a brown leather armchair stand-\ning just 24 inches tall sold at Christie’s for £19.4 \nmillion, setting an auction record for 20th-century \nfurniture. It had an illustrious provenance, having \nsat in the Parisian drawing room of Yves Saint Lau-\nrent and Pierre Bergé – but who was the designer, \npeople asked? The name was Gray, Eileen Gray – a \nquizzical expression remained on most faces. They \ncan be forgiven their ignorance. \n \nEileen Gray, an Anglo-Irish artist, designer \nand architect, is one of the most influential creatives \nof the 20th century, and yet she remains one of the \nmost elusive, her work often attributed to others. \nAmid the art and ideas that exploded in 1920s \nParis, she rubbed shoulders with Gertrude Stein’s \nliterary stars, drank cocktails with Djuna Barnes’ \nandrogynous rebels, and talked theory with Le Cor-\nbusier’s modernist pioneers, but never committed \nto a particular set. \nEileen Gray: “Formulas are nothing, people are everything.”\nE1027 \n",179,{"image":686,"text":687,"number":688},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.180.png"," \nShe worked alone – painting, interior design, the Japanese craft of lacquerwork, designing furniture, making rugs, and selling her \nwares at her own gallery. It is a strange phenomenon – her talent went unquestioned, her pieces were popular, she had passionate love affairs \nwith both men and women, yet amid the clamour of her contemporaries, Gray is quiet, industrious. As art critic Brian Dillon writes, “the real \ndrama was in her work”. \n \nThere was also her passion for privacy. By 1926, Gray was searching for a refuge away from the noise of Paris, a place where a \nperson “can count on being alone”. Engaged in a love affair with the Romanian journalist and architect Jean Badovici who was 15 years her \njunior, she bought a coastal plot in his name in Roquebrune-Cap-Martin on which to build them a house. The result was E1027 – one of the \nmost exceptional expressions of modernist architecture ever created.\nE1027\n",180,{"image":690,"text":691,"number":692},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.181.png","The serial code E1027 conceals a lovestory: E stands for Eileen,  \n10 and 2 for the initials of Jean Badovici, and 7 for G as in Gray.\nP 179\n",181,{"image":694,"text":695,"number":696},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.182.png","Le Corbusier in a letter to Eileen Gray, 1938: “ … I am so happy to tell you how much those few days spent in your house have made me \nappreciate the rare spirit which dictates all the organisation inside and outside. A rare spirit which has given the modern furniture and installations \nsuch a dignified, charming and witty shape. … Yours truly, Le Corbusier”\n",182,{"image":698,"text":699,"number":700},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.183.png"," \nBuilt over three years in collaboration with Badovici  – E1027 is a cryptic expression of their union – \nthe building is informed by Le Corbusier’s notion of the “house as a machine for living in” yet diverges from \nthe rigidity of his theories in its prioritisation of the personal. “Formulas are nothing, people are everything,” \nGray said, and E1027 is a home constructed around the personalities of people  – and not just the structure. \nThere is the adjustable E1027 table, designed for her sister who loved to eat breakfast in bed but hated the \ncrumbs, the trolley that muted rattling cups, the soft curves of the Bibendum chair, the simplicity of the \nTransat deckchair. She believed that “architecture must be its own decoration” so the walls remained white, \nand instead the sun, the land, the sea, were ushered in. The result was gentle equanimity, a fusion of art and \nnature, the peace she so desired. \n \nBut not for long. Gray and her lover split soon after the house was completed – while Gray craved \npeace, Badovici, it seems, craved the hedonism he had left behind in Paris – and she moved further along \nthe coast. In the late 1930s, Le Corbusier came to stay with Badovici and was permitted to daub the pristine \nwalls with obscene and lurid murals, a deed Gray viewed as an act of brazen aggression against her work and \ntheories. Le Corbusier’s obsession with the house is well documented; having defaced the property, he tried \nand failed to buy it several times, eventually building a ‘cabanon’ on the perimeter to allow him to forever lurk \nnearby. He drowned in the sea in front of E1027 in 1965, the house perhaps the last thing he ever saw.\n \nEileen Gray never returned to her most famous construction. She moved back to Paris after the \nwar and continued her work in the peace she had always wanted, fading into obscurity before enjoying a \nresurgence in popularity shortly before her death aged 98 in 1976. E1027 has had an unhappy history. On \nBadovici’s death, it was bought by a Swiss heiress who left it to her gynaecologist, who sold all of Gray’s \ncustom-made furniture and was then murdered by the gardener. Squatters took over and hastened its decline \nstill further before the French government finally bought it in 1999. The rehabilitation process has been \narduous, but in summer 2015 the house was at last reopened to the public.\nE1027\n",183,{"image":702,"text":703,"number":704},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.184.png","Text Tish Wrigley for AnOther Magazine and photography Mary Gaudin,  \nManuel Bougot, Richard Powers and Christian Kain, www.capmoderne.com \nP 182\n",184,{"image":706,"text":707,"number":708},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.185.png","The international designers in our portfolio are separated by decades or \nentire epochs. What unites them is the creative occupation with materials, \nforms and technologies – and the focus on creating outstanding products.\nDesigners\n",185,{"image":710,"text":711,"number":712},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.186.png","TAIDGH O’NEILL, 1980\nThe artist and architect Taidgh O’Neill \nlives and works in Los Angeles. With \nhis background as a trained craftsman \nand studies of fine arts, the designer \ncombines references to abstract paint- \ning and sculpture in his objects. \nTaidgh Series\nSEBASTIAN HERKNER,  \n1981\nSebastian Herkner studied product \ndesign at HfG Offenbach am Main.  \nIn 2006, he founded his own studio  \nfor objects, interior design and exhibi- \ntion design in Offenbach. With his \nBell Table design from 2012, which is \npart of the ClassiCon collection, he \nsucceeded in taking his first big step \ntowards international recognition. \nToday, Herkner is one of the most \nsought-after designers of his gene- \nration. This success is reflected in \nnumerous distinctions and awards \n – among them, in 2011, the Young \nTalent Award of the Design Award  \nof the Federal Republic of Germany \nand the appointment as Guest of \nHonour of imm Cologne 2016, in the \ncourse of which Herkner was asked \nto design “Das Haus - Interiors on \nStage”. Maison&Objet Paris named \nhim Designer of the Year 2019; \nseveral other awards, including the \nGerman Design Award, can be added \nto the list. Bell Series, Plissée\nA+A COOREN, 1974 \u002F1973\nA+A Cooren is a multidisciplinary \ndesign studio based in Paris, de- \nsigning lamps, objects, furniture \nand interiors. It was founded by the \nJapanese-French designer couple \nAki and Arnaud Cooren. Tadaima\nEILEEN GRAY, 1878 – 1976\nEileen Gray’s achievement in design and \narchitecture is considered pioneering work \nof Modernism. During her lifetime, she  \nwas already honoured by the London Royal \nSociety of Art with the title Royal Designer \nfor Industry, and she is one of few women \nmentioned in the same breath as Le Corbu- \nsier, Mies van der Rohe and Marcel Breuer. \nHer Adjustable Table E1027 is one of the \nmost famous and most-copied designs in \nthe world. It was added to the permanent \ncollection of MoMA New York in 1978.  \nIn 1973, Eileen Gray granted the worldwide \nrights to the production and distribution of \nher designs to Aram Designs, Ltd. London. \nToday, like the Vereinigte Werkstätten in \nMunich, from which the company emerged \nin 1990, ClassiCon produces Gray’s iconic \nfurniture designs as the sole and rightful \nlicensee. Adjustable Table E1027, Aixia, \nBar Stool No. 1, Bar Stool No. 2, Biben- \ndum, Bonaparte, Brick Screen, Castellar, \nDay Bed, De Stijl, Double X, Folding \nScreen, Jean, Lota, Lou Perou, Menton, \nMonte Carlo, Non Conformist, Occa- \nsional Table, Pailla, Petite Coiffeuse, \nRivoli, Roattino, Roquebrune, Tube Light \nand the rugs Blue Marine, Bonaparte, \nCastellar, Centimetre, Kilkenny, \nRoquebrune, St. Tropez, Wendingen\nOTTO BLÜMEL, 1881 – 1973\nOtto Blümel was director of the United \nWorkshops for Art in Craftsmanship in \nMunich, when he designed the Nymphen- \nburg coat stand. His design is entirely un- \nder the sign of the new ideals of his time:  \nit focuses on making functionality visible \nand the appreciation of craftsmanship.  \nThis timeless design is still valid today. \nNymphenburg\nNERI&HU, 1965 \u002F 1968\nLyndon Neri and Rossana Hu are the founding partners of the Neri&Hu Design and Research \nOffice, an internationally active design and architectural office headquartered in Shanghai since \n2004. They both studied architecture in Berkeley; Rosanna Hu did her master’s degree at \nPrinceton, and Lyndon Neri at Harvard. Today, they are among the most influential forces in \ndesign and architecture in China and beyond. In their designs, they combine western and Asian \ninfluences and consider themselves bridge builders between the cultures. In addition to their \ndesign work, they run Design Republic, a concept store for outstanding international design in \nShanghai – it was among the first places to bring a modern design experience to China.  \nLantern Light, Sedan\nJADER ALMEIDA, 1981\nBrazilian designer Jader Almeida studied architecture \nand urban development. His contact with masters of \nBrazilian furniture design, including Sergio Rodrigues, \ninfluenced Almeida’s understanding of design. Today, \nhe works as a product designer and architect, in his \nown studio in Florianópolis. His designs have received \nnumerous national and international design awards \nsuch as the IF Design Award and the Good Design \nAward Chicago. Euvira\nHERBERT H. SCHULTES, 1938 – 2020\nHerbert H. Schultes is one of the most important \nGerman designers. He was honoured with the \n“Verdienstkreuz am Bande der Bundesrepublik \nDeutschland” cross of merit and the “Bundespreis \nfür Förderer des Designs” federal award from  \nthe Ministry of Economics for his commitment to \ndesign. Numerous products designed by Schultes \nare included in the collections of MoMA New York. \nOrbis\nSANDRA LINDNER, 1974\nSandra Lindner works in her own design \noffice in Hamburg. One of her trademarks \nis an intensive interest in sustainability \nand crafts. Selene\nNINA MAIR, 1978\nNina Mair works as a product designer  \nand architect in her own studio in Innsbruck, \nAustria. Her goal: creating sustainable pro- \nducts and spaces that provide identity and \ntouch people at an emotional level. Cypris\n",186,{"image":714,"text":715,"number":716},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.187.png","KONSTANTIN GRCIC, 1965\nAfter training as a cabinet maker, Konstantin Grcic \nstudied design at the Royal College of Art in London. \nIn 1991, he set up his own design practice KGID in \nMunich. In the same year, he presented furniture \ndesigns for ClassiCon. In 2002, ClassiCon published \nthe first book about his work and also dedicated a \nsolo exhibition to him in Milan. Many of his products \nwon international design awards and are on display \nin museums worldwide, including MoMA New York \nand Centre Pompidou Paris. In 2006, Phaidon Verlag \npublished the book “KGID Konstantin Grcic Indus- \ntrial Design”. In 2010, Design Miami Basel named \nhim Designer of the Year. In 2012, he was responsible \nfor the exhibition design of the German pavilion at \nthe Venice Biennial. Grcic and ClassiCon celebrated \n25 years of collaboration in 2016 with the publication \nof a limited Black Edition, accompanied by an artist’s \nportfolio. Chaos, Diana Series, Mars, Odin, Orcus, \nPallas, Ulisse, Venus\nORTEGAGUIJARRO,  \n1988 \u002F 1989\nStudio OrtegaGuijarro was  \nfounded in 2017 by Alex Ortega \nand Carlos Guijarro in Barcelona.  \nThe two designers with a back- \nground in industrial and interior \ndesign have set themselves the \ngoal to create individual and \nsurprising everyday solutions. \nSol\nCHRISTOPH BÖNINGER, 1957\nAs his dissertation project, Christoph Böninger \ndesigned the world’s first laptop computer, which is \non display at the Pinakothek der Moderne in Munich. \nFollowing many years in design management, he \nfounded the Auerberg label in 2010. Sax, Zelos\nVICTORIA WILMOTTE, \n1985\nVictoria Wilmotte studied at  \nthe Royal College of Art in London, \namong others, and has her own \ndesign studio in Paris. Her design \nprocess, resembling that of a \nsculptor, is special: she weighs \nvolume and emptiness and \nremoves material until she has \nfound ideal angles or curves. \nPiega, Pli Series\nSAUERBRUCH HUTTON, 1955 \u002F 1957\nLouisa Hutton and Matthias Sauerbruch studied at the Archi- \ntectural Association London. Their office for architecture, urban \ndevelopment and design was established in 1989 and has been \nlocated in Berlin since 1991. Their first high-rise building, the \nGSW Head Offices in Berlin (1999), is part of the architecture \ncollection of MoMA New York. In addition, both were instruc- \ntors at internationally renowned institutions, including the \nHarvard Graduate School of Design. Munich Series\nGUILHERME TORRES, 1973\nBrazilian Guilherme Torres is famous for his innovative \nresidential and commercial architectural projects as well \nas his interiors and furniture designs. In 2001, he founded \nhis own studio, today headquartered in São Paulo. The \ninternationally renowned architect considers himself to \nbe a perfectionist who never tires of repeatedly revising \nand improving things. Bow\nBARBER OSGERBY, 1969\nEdward Barber and Jay Osgerby studied ar- \nchitecture at the Royal College of Art in London. \nTheir collaboration started while they were  \nstill in school. In 1996, they founded the design \nstudio Barber Osgerby. Their first piece, the \nLoop Table, was much-acclaimed and is part of \nthe collections of the Metropolitan Museum  \nin New York and the V&A Museum in London. \nMany successful products for renowned \ncompanies followed. In 2001, Barber Osgerby \nfounded another design studio in London:  \ntoday, “Universal” is considered one of the  \nmost innovative design consulting agencies  \nfor architecture, interiors and exhibition design  \nin the world. Paris, Saturn\nECKART MUTHESIUS,  \n1904 – 1989\nThe architect Eckart Muthesius studied  \nat the Associated State School for Applied \nArts in Berlin and at the Polytechnic in \nLondon. In 1931, the Maharajah of Indore \ncommissioned him to build and furnish  \nhis palace Manik Bagh; Muthesius turned  \nit into an Art Deco masterpiece.  \nBanu, Mandu, Satish, Usha\nCLEMENS WEISSHAAR, \n1977\nClemens Weisshaar was born  \nin Munich and studied product \ndesign, among others at the \nLondon Royal College of Art.  \nIn 2002, he joined forces with \nSwedish designer Reed Kram  \nto form Kram\u002FWeisshaar. Their \nworks were added to internatio- \nnal design collections, including \nMoMA New York and Centre \nPompidou Paris. Triton\nCHRISTIAN HAAS, 1974\nChristian Haas desgins products in various \ndisciplines, from furniture and lamps to \nporcelain and glass. In 2000, the industrial \ndesigner founded his own studio. Today, \nhe lives and works in Porto. Matéria\nIPPOLITO FLEITZ GROUP \nTILLA GOLDBERG, 1973\nIppolito Fleitz Group is a multidisciplinary, \ninternationally active design studio based in \nStuttgart. Tilla Goldberg is a member of the \nmanagement board and head of product \ndesign. With her team, she develops space \ninstallations, furniture, lamps and objects as \nwell as materials and finishes. The claim: \nproviding each individual project with an \nunmistakable signature. Aërias, Pegasus\nMore information about our designers is available on our website www.classicon.com\n",187,{"image":718,"text":719,"number":720},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.188.png","It may sound strange for a design furniture collection, but we feel a great \nsense of responsibility with regard to its compilation. The responsibility to \nselect only the best designs which, together with the other representatives  \nof our design family, form a harmonious, substantial and timeless collection. \nIn one word: ClassiCon. \nP 186\n",188,{"image":722,"text":723,"number":724},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.189.png","Products\n",189,{"image":726,"text":727,"number":728},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.190.png","Seating Furniture\nChairs and Armchairs\nAIXIA CHAIR 1928\nEILEEN GRAY\nH 84 \u002F W 40 \u002F D 52 \u002F SH 48 \nSEE PAGES 4, 172, 180\nFrame chrome-plated tubular steel. \nUpholstery polyurethane with \npolyester fibre. Cover in fabric or \nleather. Gliders solid mahogany.\nROQUEBRUNE CHAIR 1927\nEILEEN GRAY\nH 79 \u002F W 45 \u002F D 53 \u002F SH 47\nSEE PAGES 13, 108, 120, 121, 122, 163, \n179, 180\nFrame tubular steel, powder-coated \nin black or chrome-plated. Seat and \nbackrest bend leather, laced. Plastic \ngliders.\nBONAPARTE ARMCHAIR 1935\nEILEEN GRAY\nH 74 \u002F W 62 \u002F D 67 \u002F SH 47\nSEE PAGES 17, 94\nFrame chrome-plated tubular steel. \nBeech frame with rubber webbing. \nUpholstery polyurethane with \npolyester fibre. Cover in fabric or \nleather. Plastic gliders in black.\nVENUS CHAIR 2006\nKONSTANTIN GRCIC\nH 81 \u002F W 53 \u002F D 53 \u002F SH 46\nSEE PAGES 89, 90, 106\nMoulded wood, solid wood-veneered \nin oak, natural or black-stained,  \nor natural walnut, with clear varnish. \nBackrest handle bend leather in \nmocha brown. Bend leather gliders \nin mocha brown. \nMARS CHAIR 2003 \nKONSTANTIN GRCIC \nH 76 \u002F W 48 \u002F D 54 \u002F SH 46\nSEE PAGES 87, 91\nBase rigid polyurethane. Seat tubular \nsteel with polyurethane upholstery. \nCover in fabric or leather. Height- \nadjustable metal gliders.\nSEDAN CHAIR 2015 \nNERI&HU\nH 84 \u002F W 45 \u002F D 54 \u002F SH 46\u002F47\nSEE PAGE 78\nFrame solid oak or walnut, natural  \nor black-stained, with clear varnish. \nSeat shell rigid polyurethane foam \nwith polyurethane upholstery. Cover \nin fabric or leather. Changeable \ngliders in felt or plastic.\nEUVIRA LOUNGE CHAIR 2015 \nJADER ALMEIDA\nH 73\u002F78 \u002F W 71 \u002F D 74 \u002F SH 42\u002F48\nSEE PAGES 62, 65, 66, 162, 171\nFrame solid oak, natural, brown or \nblack-stained, with clear varnish. \nSeat in hemp-coloured or black nylon \ncord or upholstery polyurethane with \nrubber webbing and cover in fabric or \nleather. Changeable gliders in felt  \nor plastic.\nSEDAN LOUNGE CHAIR 2013 \nNERI&HU\nH 74 \u002F W 85 \u002F D 67 \u002F SH42\nSEE PAGES 76, 77, 79, 166, 169,  \n170, 171\nFrame solid oak or walnut, natural  \nor black-stained, with clear varnish. \nSeat shell rigid polyurethane foam \nwith polyurethane upholstery. Cover \nin fabric or leather. Changeable \ngliders in felt or plastic.\nMUNICH STOOL 2012\nSAUERBRUCH HUTTON\nH 41 \u002F W 53 \u002F D 42\nFrame solid oak or walnut, natural  \nor black-stained, with clear varnish. \nUpholstery polyurethane with poly- \nester fibre. Cover in fabric or leather. \nContrast stitching exclusively for \npremium leather. Changeable gliders \nin felt or plastic.\nMUNICH ARMCHAIR 2011\nSAUERBRUCH HUTTON\nH 81 \u002F W 69 \u002F D 54 \u002F SH 47\nSEE PAGES 97, 98, 102, 165, 168\nFrame solid oak or walnut, natural or \nblack-stained, with clear varnish. \nSeat frame tubular steel. Upholstery \npolyurethane with polyester fibre. \nCover in fabric or leather. Contrast \nstitching exclusively for premium \nleather. Changeable gliders in felt  \nor plastic. \nEUVIRA ROCKING CHAIR 2013 \nJADER ALMEIDA\nH 68\u002F73 \u002F W 72 \u002F D 77 \u002F SH 41\u002F47\nSEE PAGES 42, 64, 65, 67, 69, 71, 162, \n170, 171\nFrame solid oak, natural, brown or \nblack-stained, with clear varnish. \nSeat in hemp-coloured or black nylon \ncord or upholstery polyurethane with \nrubber webbing and cover in fabric or \nleather. Undersides of skids have \n(non-slip) felt inserts.\nBIBENDUM ARMCHAIR 1926 \nEILEEN GRAY\nH 72 \u002F W 90 \u002F D 79 \u002F SH 42\nSEE PAGES 23, 24, 54, 57, 94, 95, 142, \n164, 167, 171, 180, 182\nFrame tubular steel, powder-coated \nin black or chrome-plated. Beech \nframe with rubber webbing. Uphol- \nstery polyurethane with polyester \nfibre. Cover in fabric or leather. \nPlastic gliders in black.\nAËRIAS CHAIR 2018\nIPPOLITO FLEITZ GROUP \nTILLA GOLDBERG\nH 82 \u002F W 55 \u002F D 54 \u002F SH 46 \nSEE PAGES 30, 46, 154, 185\nFrame tubular steel, powder-coated \nin black. Seat and backrest frame \nmoulded wood, lacquered in black, \ncovered with weaving made of \nreinforced leather straps. Leather \nweaving optionally in one or two \ncolour\u002Fs. Felt or plastic gliders, \nreplaceable.\nNON CONFORMIST ARMCHAIR 1926\nEILEEN GRAY\nH 78 \u002F W 57 \u002F D 63 \u002F SH 49\nSEE PAGES 25, 26, 124, 164\nFrame chrome-plated tubular steel. \nBeech frame with rubber webbing. \nUpholstery polyurethane with \npolyester fibre. Cover in fabric or \nleather. Plastic gliders in black.\nCHAOS CHAIR 2001 \nKONSTANTIN GRCIC\nH 78 \u002F W 87 \u002F D 70 \u002F SH 43\nSEE PAGE 131\nFrame chrome-plated tubular steel. \nUpholstery polyurethane with \npolyester fibre. Cover in fabric or \nleather. One height-adjustable \nplastic glider in black.\n",190,{"image":730,"text":731,"number":732},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.191.png","MUNICH LOUNGE CHAIR 2009\nSAUERBRUCH HUTTON\nH 72 \u002F W 97 \u002F D 69 \u002F SH 41\nSEE PAGES 96, 99, 168, 169\nFrame solid oak or walnut, natural or \nblack-stained, with clear varnish. \nSeat frame tubular steel with rubber \nwebbing. Upholstery polyurethane \nwith polyester fibre. Cover in fabric or \nleather. Contrast stitching exclusively \nfor premium leather. Changeable \ngliders in felt or plastic. \nMUNICH SOFA 2010\nSAUERBRUCH HUTTON \nH 76 \u002F W 163 \u002F D 77 \u002F SH 41\nSEE PAGES 166, 170\nFrame solid oak or walnut, natural or black-stained, \nwith clear varnish. Seat frame tubular steel with \nrubber webbing. Upholstery polyurethane with \npolyester fibre. Cover in fabric or leather. Contrast \nstitching exclusively for premium leather. \nChangeable gliders in felt or plastic.\nDAY BED & DAY BED GRAND 1925\nEILEEN GRAY\nDay Bed H 60 \u002F W 190 \u002F D 86 \u002F SH ~43 \nDay Bed Grand H 60 \u002F W 200 \u002F D 90 \u002F SH ~43\nSEE PAGES 23, 49, 51, 113\nAvailable in two sizes. Frame tubular steel, \npowder-coated in black or chrome-plated. Beech \nframe with rubber webbing. Loose mattress. \nUpholstery polyurethane with polyester fibre. \nCover in fabric or leather. Plastic gliders in black.\nLOTA SOFA 1924\nEILEEN GRAY\nH 85 \u002F W 240 \u002F D 95 \u002F SH 43, Box H 55 \u002F W 30 \u002F D 88\nSEE PAGES 37, 39, 83, 164\nPadded beech frame with spring interior. Side- \nboxes MDF high-gloss colour-lacquered, mounted \non plastic casters in black. Loose seat cushion with \nnatural down filling. Loose back and side cushions \nfilled with natural down and stabilisers. Cover in \nfabric or leather.\nMONTE CARLO SOFA 1929 \nEILEEN GRAY\nH 60 \u002F W 280 \u002F D 95 \u002F SH 40\nSEE PAGES 19, 115, 129, 180\nFrame chrome-plated tubular steel. Beech frame \nwith rubber webbing. Upholstery polyurethane \nwith polyester fibre. Cover in fabric or leather. \nHeight-adjustable metal gliders.\nODIN SOFA 2005\nKONSTANTIN GRCIC\nH 74 \u002F W 160 \u002F D 69 \u002F SH 44\nSEE PAGES 40, 52, 55, 136, 162, 169\nFrame tubular steel with rubber webbing.Uphol- \nstery polyurethane with polyester fibre. Cover  \nin fabric or leather. Two recessed grips on back. \nHeight-adjustable metal gliders.\nULISSE DAYBED 2016\nKONSTANTIN GRCIC\nH 78 \u002F W 211 \u002F D 77 \u002F SH 40\u002F46\nSEE PAGE 133\nFrame solid oak or walnut, natural or black-stained, \nwith clear varnish. Metal components solid brass, \nunvarnished or black chrome-plated. Upholstery \npolyurethane with polyester fibre. Cover in fabric or \nleather. Cushion can be fixed in head and foot area \nwith push buttons. Headboard height-adjustable at \nthree settings. Anti-slip plastic gliders in white.\nBANU STOOL 1931 \nECKART MUTHESIUS\nH 46 \u002F W 52 \u002F D 42\nSEE PAGE 73\nFrame chrome-plated flat steel. Beech \nseat frame. Upholstery polyurethane \nwith polyester fibre. Cover in fabric or \nleather. Changeable gliders in felt  \nor plastic.\nBAR STOOL NO. 2 1928\nEILEEN GRAY\nH 74 \u002F W 30 \u002F D 39\nSEE PAGES 117, 169\nFrame sectional steel and floor base \nsteel, lacquered in black or cream. \nTwo stainless steel bars. Upholstery \npolyurethane with polyester fibre. \nCover in fabric or leather. Changeable \ngliders in felt or plastic.\nBAR STOOL NO. 1 1928\nEILEEN GRAY\nH 70-80 \u002F DM 38\nSEE PAGES 117, 126\nSeat height-adjustable. Threaded  \nrod and column chrome-plated steel. \nBase cast aluminium, powder-coated \nin black or white. Upholstery polyure- \nthane with polyester fibre. Cover in \nfabric or leather. Changeable gliders \nin felt or plastic.\nSATISH BAR STOOL 1931\nECKART MUTHESIUS \nH 78 \u002F DM 36\nSEE PAGE 116\nFrame chrome-plated tubular steel. \nBeech seat frame. Upholstery \npolyurethane with polyester fibre. \nCover in fabric or leather. Plastic \ngliders in black.\nTRITON BAR STOOL 2007 \nCLEMENS WEISSHAAR \nH 75 \u002F W 50 \u002F D 49\nSEE PAGES 110, 111, 164, 171\nFrame tubular steel, powder-coated \nwith fine texture in black or chrome-\nplated or copper-plated, with clear \nvarnish. Seat polyurethane, colour-\nlacquered, or covered in bend leather. \nHook for bag in frame colour. Plastic \ngliders in black.\nTRITON COUNTER STOOL 2007 \nCLEMENS WEISSHAAR\nH 65 \u002F W 50 \u002F D 49\nFrame tubular steel, powder-coated \nwith fine texture in black or chrome-\nplated or copper-plated, with clear \nvarnish. Seat polyurethane, colour-\nlacquered, or covered in bend leather. \nHook for bag in frame colour. Plastic \ngliders in black.\nBar Stools\nSofas\nStool\nP 189\n",191,{"image":734,"text":735,"number":736},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.192.png","ADJUSTABLE TABLE E1027 1927 \nEILEEN GRAY\nH 64-102 \u002F TH 55-93 \u002F DM 52\nSEE PAGES 6, 19, 24, 49, 113, 114, \n129, 164, 167, 169\nFrame height-adjustable, chrome- \nplated tubular steel. Tabletop clear \ncrystal glass or grey smoked glass, \nor black lacquered metal.\nADJUSTABLE TABLE E1027 BLACK \nVERSION 1927 EILEEN GRAY\nH 64-102 \u002F TH 55-93 \u002F DM 52\nSEE PAGES 22, 54, 137, 173\nFrame height-adjustable, tubular steel, \npowder-coated in black. Tabletop clear \ncrystal glass or grey smoked glass, or \nblack lacquered metal.\nBELL SIDE & BELL COFFEE TABLE\n2012 SEBASTIAN HERKNER\nSide H 53 \u002F DM 50 \nCoffee H 36 \u002F DM 75\nSEE PAGES 7, 30, 40, 45, 52, 57, 61, 68, \n71, 162, 164, 167, 168, 169, 170, 171, 187\nAvailable in two sizes. Hand-blown \nglass base in various colours. Metal \ntop frame solid brass, with clear \nvarnish. Tabletop crystal glass, black \nlacquered, or tabletop marble  \nin various versions, polished and \nimpregnated.\nBELL SIDE & BELL COFFEE TABLE\n2012 SEBASTIAN HERKNER\nSide H 53 \u002F DM 50 \nCoffee H 36 \u002F DM 75\nSEE PAGES 41, 42, 45, 131\nAvailable in two sizes. Hand-blown \nglass base in various colours.  \nMetal top frame solid steel, black \nlacquered. Tabletop crystal glass, \nblack lacquered, or tabletop marble  \nin various versions, polished and \nimpregnated.\nBELL SIDE & BELL COFFEE TABLE \nCOPPER SPECIAL EDITION 2013 \nSEBASTIAN HERKNER\nSide H 53 \u002F DM 50 \nCoffee H 36 \u002F DM 75\nSEE PAGES 45, 70, 160, 169\nAvailable in two sizes. Hand-blown \nglass base in quartz grey. Metal  \ntop frame solid copper, unvarnished,  \nwith crystal glass tabletop, black \nlacquered. The tables of this special \nedition are engraved with a serial \nnumber. The unvarnished copper will \nslowly develop an attractive  \nnatural patina.\nSide and Coffee Tables\nDIANA C SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 34 \u002F W 47 \u002F D 36\nSEE PAGE 134\nSheet steel, powder-coated with fine \ntexture in various colours. Bottom \ncovered with polyethylene.\nDIANA E SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 54 \u002F W 61 \u002F D 47\nSheet steel, powder-coated with fine \ntexture in various colours. Swivel top. \nBottom covered with polyethylene.\nDIANA D COFFEE TABLE 2002\nKONSTANTIN GRCIC\nH 27 \u002F W 90 \u002F D 64\nBase sheet steel, powder-coated \nwith fine texture in various colours. \nTabletop clear crystal glass. Bottom \ncovered with polyethylene.\nDIANA F SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 44 \u002F W 65 \u002F D 41\nSheet steel, powder-coated with fine \ntexture in various colours. Swivel top. \nBottom covered with polyethylene.\nDE STIJL TABLE 1922\nEILEEN GRAY \nH 81 \u002F W 61 \u002F D 64\nSEE PAGE 128\nMultiplex and MDF. Matte lacquered \nin black and white.\nDIANA B SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 53 \u002F W 47 \u002F D 43\nSEE PAGES 134, 135\nSheet steel, powder-coated with \nfine texture in various colours. \nBottom covered with polyethylene.\nDIANA A SIDE TABLE 2002\nKONSTANTIN GRCIC\nH 42 \u002F W 53 \u002F D 25\nSEE PAGES 67, 132, 134\nSheet steel, powder-coated with \nfine texture in various colours. \nBottom covered with polyethylene.\nBOW COFFEE TABLE NO.1, NO. 2, NO.3, NO. 4, NO.5 2018  \nGUILHERME TORRES\nNO.1 H 19 \u002F W 70 \u002F D 70, NO. 2 H 25 \u002F W 70 \u002F D 70, NO.3 H 31 \u002F W 70 \u002F D 70, \nNO.4 H 19 \u002F W 100 \u002F D 100, NO. 5 H 25 \u002F W 100 \u002F D 100\nSEE PAGES 28, 33, 55, 119, 168, 169, 170\nAvailable in two tabletop sizes and three table heights. Table solid brass sheet, \nnatural or burnished, with clear varnish. Tabletop crystal glass, black lacquered \nor marble tabletop in Nero Marquina or Bianco Carrara, polished and \nimpregnated. Height-adjustable felt gliders.\nBOW COFFEE TABLE NO. 3 MARBLE \n2019 GUILHERME TORRES\nH 31 \u002F W 70 \u002F D 70\nSEE PAGES 34, 55\nSolid marble in Nero Marquina or \nBianco Carrara, polished and impreg- \nnated. Height-adjustable felt gliders.\nTables\n",192,{"image":738,"text":739,"number":740},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.193.png","AUTUMN 2021\nMENTON TABLE 1932\nEILEEN GRAY \nH 42\u002F65 \u002F TH 32\u002F65 \u002F W 128 \u002F D 65\u002F56\nSEE PAGES 37, 164\nFrame chrome-plated tubular steel. \nTabletop with linoleum surface, black \non one side and grey on the other, \nwith solid beech edging. Foldable for \nuse in two different heights.\nMATÉRIA LOW BOARD SERIES 2021\nCHRISTIAN HAAS\nSide Table H 30 \u002F W 110 \u002F D 39\nLong Table H 23 \u002F W 170 \u002F D 39\nCoffee Table H 37 \u002F W 160 \u002F D 70\nSEE PAGES 65, 80, 81, 83, 84\nAvailable in three sizes. Frame solid maple, natural, with clear varnish.  \nTravertine tabletop, elaborately milled, natural or with indigo-dyed indentations. \nTabletop support colour-lacquered metal in light ivory. Black felt gliders.\nOCCASIONAL TABLE 1927\nEILEEN GRAY\nRound H 57 \u002F TH 43 \u002F W 40 \u002F D 45\nRectangular H 57 \u002F TH 43 \u002F W 36 \u002F D 41\nSEE PAGES 124, 125, 164, 171\nBase chrome-plated tubular steel. \nTabletop round or rectangular MDF \nhigh-gloss lacquered in black, grey, \nwhite or Chinese red. Plastic gliders \nin grey.\nPETITE COIFFEUSE 1926 \nEILEEN GRAY\nH 84 \u002F TH 76 \u002F W 47 \u002F D 66\nSEE PAGES 126, 127, 142\nChest of drawers and dressing table. \nFrame chrome-plated tubular steel. \nTabletop and suspended box with two \nswivel drawers and one door MDF \nhigh-gloss lacquered in black or white. \nPlastic gliders in black.\nDOUBLE X TABLE 1928\nEILEEN GRAY \nH 72\u002F73 \u002F W 224\u002F225\u002F230 \u002F D 82\u002F110\u002F110\nSEE PAGES 13, 122\nFrame chrome-plated tubular steel. \nTabletop MDF real-wood veneered in \nash, black-stained or walnut, with \nclear varnish, or high-gloss lacquered \nin black. Or tabletop clear crystal \nglass. Height-adjustable metal gliders.\nJEAN TABLE 1929\nEILEEN GRAY\nH 70\u002F72 \u002F W 65\u002F130 \u002F D 70\nSEE PAGES 121, 180\nFrame chrome-plated tubular steel. \nTabletop foldable, laminated with \nwhite HPL, solid beech edging. \nHeight-adjustable metal gliders.\nLOU PEROU TABLE 1926\nEILEEN GRAY \nH 70\u002F73 \u002F W 130\u002F195 \u002F D 65\nSEE PAGE 130\nFrame chrome-plated tubular steel. \nPart of the tabletop can be folded up \nfor extension. Tabletop MDF high- \ngloss lacquered in black or white. \nPlastic gliders in black.\nPALLAS TABLE 2003\nKONSTANTIN GRCIC\nH 72 \u002F W 240\u002F300 \u002F D 75\nSEE PAGES 78, 97, 195\nSheet steel 4 mm thick. Powder-\ncoated with fine texture in various \ncolours. Outdoor version: galvanised, \nweatherproof powder-coated with \nfine texture.\nPLI TABLE 2017\nVICTORIA WILMOTTE\nH 73\u002F74 \u002F W 180 \u002F D 140\nSEE PAGES 4, 46, 87, 88, 90, 91\nBase folded high-gloss polished \nstainless sheet steel, in various \ncolours, tinted with a special method. \nOval tabletop crystal glass, colour- \nlacquered or oval tabletop marble or \nother natural stones, polished and \nimpregnated. Height-adjustable felt \ngliders in grey.\nRIVOLI TABLE 1928\nEILEEN GRAY\nH 101 \u002F TH 71 \u002F W 73\u002F139 \u002F D 36\u002F64\nSEE PAGES 123, 180\nFrame chrome-plated tubular steel \nand two swivel trays chrome-plated \nsteel. Tabletops MDF high-gloss \nlacquered in black, grey, white and \nChinese red, partially foldable. Plastic \ngliders in black and one height-\nadjustable metal glider.\nSOL SIDE TABLE 2021\nORTEGAGUIJARRO\nH 51 \u002F TH 41 \u002F W 50 \u002F D 46\nSEE PAGES 66, 75, 76\nParsol glass in bronze or grey.  \nOr crystal glass with coloured \ninlay in royal blue.\nSAX SIDE TABLE 2017\nCHRISTOPH BÖNINGER\nH 58-73 \u002F W 60 \u002F D 60\nSEE PAGE 139\nVariably height-adjustable side table \non casters. Frame steel, powder-\ncoated in black or chrome-plated. \nTabletop crystal glass, black lacquered \nor Fenix HPL in matte black. Plastic \ncasters in black. \nBELL HIGH TABLE 2020 \nSEBASTIAN HERKNER\nH 74 \u002F DM 130\nSEE PAGES 31, 50, 53, 58\nHand-blown glass base in smoke \ngrey. Metal top frame solid brass \nwith clear varnish. Tabletop crystal \nglass, black lacquered or tabletop \nmarble Nero Marquina or Bianco \nCarrara, polished and impregnated.\nTables\nPLI SIDE TABLE LOW & HIGH  \n2016 & 2017 VICTORIA WILMOTTE\nLow H 48 \u002F W 56 \u002F D 42  \nHigh H 65 \u002F W 56 \u002F D 42\nSEE PAGES 79, 92, 93, 94, 168\nAvailable in two sizes. Base folded \nhigh-gloss polished stainless sheet \nsteel, in various colours, tinted with  \na special method. Oval tabletop \ncrystal glass, colour-lacquered or oval \ntabletop marble or other natural \nstones, polished and impregnated. \nFelt gliders in black.\nP 191\n",193,{"image":742,"text":743,"number":744},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.194.png","CYPRIS MIRROR 2015\nNINA MAIR\nH 180\u002F60 \u002F W 60\u002F180 \u002F D 10\nSEE PAGES 60, 61, 88, 93, 110\nFrame solid brass, natural or bur- \nnished, with clear varnish. Mirror \nclear crystal glass or smoked glass, \nbronze. For horizontal or vertical \nuse. Tilt protection included for use \nas a leaning mirror.\nPIEGA MIRROR OBJECT  \nSMALL, MEDIUM, LARGE 2018\nVICTORIA WILMOTTE \nSmall H 48 \u002F W 80 \u002F D 10\nMedium H 62 \u002F W 100 \u002F D 12\nLarge H 75 \u002F W 145 \u002F D 15\nSEE PAGES 46, 49, 116, 170\nDecorative design object available \nin three sizes; high-gloss polished \nstainless steel. For horizontal or \nvertical use.\nCYPRIS MIRROR 2015\nNINA MAIR\nH 70 \u002F W 70 \u002F D 10\nSEE PAGE 80\nFrame solid brass, natural or bur- \nnished, with clear varnish. Mirror \nclear crystal glass or smoked glass, \nbronze.\nFOLDING SCREEN 1930\nEILEEN GRAY\nH 167 \u002F W 10-143\n \nSEE PAGES 124, 125, 126\nFour-piece, foldable screen. Wooden \nframe with two different perforated \nmetal panel fillings. High-gloss lac- \nquered in black, white and Chinese \nred.\nMANDU VALET STAND 1932\nECKART MUTHESIUS \nH 109 \u002F W 41 \u002F D 38\n \nSEE PAGE 72\nTubular steel, powder-coated in \nblack or chrome-plated. Silicone \nanti-slide strip for trousers. Plastic \ngliders in black.\nAccessories\nCASTELLAR MIRROR 1927\nEILEEN GRAY\nH 64 \u002F W 58 \u002F D MAX. 38\nSEE PAGE 126\nMirror with a swivel-mounted \nsection. Frame chrome-plated steel. \nMirror polished crystal glass with \nfaceted edges.\nCYPRIS MIRROR 2015\nNINA MAIR\nDM 75 \u002F D 10\nSEE PAGE 79\nFrame solid brass, natural or bur- \nnished, with clear varnish. Mirror \nclear crystal glass or smoked glass, \nbronze.\nShelves\nHome Desks\nPEGASUS HOME DESK 2014\nIPPOLITO FLEITZ GROUP \n\u002FTILLA GOLDBERG\nH 75 \u002F W 121 \u002F D 51\nSEE PAGES 2, 3, 102, 104, 159\nFrame flat steel, black lacquered or \ncovered in bend leather in mocha \nbrown or khaki. Body with drawer and \nfour compartments, HPL\u002FMDF matte \nlacquered in mauve or night blue. Front \nand back clad burnished stainless sheet \nsteel or solid walnut, with clear varnish. \nWorktop reinforced bend leather, \nbottom side covered with black fabric \ncan be folded up on the side. Cable \nduct. Height-adjustable metal gliders.\nORCUS HOME DESK 1993\nKONSTANTIN GRCIC \nH 123\u002F125 \u002F TH 73 \u002F W 105 \u002F D 42\u002F92\nSEE PAGES 106, 108\nFrame chrome-plated tubular steel. \nLockable body MDF, real-wood ve- \nneered in walnut, with clear varnish, \nor high-gloss lacquered in white. \nFold-out worktop with black leather \ndesk pad. Four drawers including  \na secret compartment. Cable duct. \nHeight-adjustable metal gliders.\nPARIS SHELF 2005\nBARBER OSGERBY \nH 39\u002F75\u002F111 \u002F W 200 \u002F D 35 \nSEE PAGES 78, 134, 141\nBoards MDF real-wood veneered in \nwalnut, with clear varnish or lacquered \nin jet black or grey white. Variable \nelements sheet steel, powder-coated \nwith fine texture in various colours \n(available in version U and L, inter- \nchangeable). Base with height-adjust-\nable plastic gliders in black. \nTAIDGH SHELF A 2019\nTAIDGH O‘NEILL\nH 54 \u002F W 56 \u002F D 30\nSEE PAGE 55\nShelves, connection parts and laths \nsolid oak or walnut, natural, oiled \nwith silk matte surface. For individual \nuse or in combination with Taidgh \nShelf B (see page 55).\nTAIDGH SHELF B 2019\nTAIDGH O‘NEILL\nH 49 \u002F W 59 \u002F D 33\nSEE PAGES 55, 71\nShelves, connection parts and laths \nsolid oak or walnut, natural, oiled \nwith silk matte surface. For individual \nuse or in combination with Taidgh \nShelf A (see page 55).\nTAIDGH SHELF C 2019\nTAIDGH O‘NEILL\nH 70 \u002F W 81 \u002F D 29\nSEE PAGES 55, 100\nShelves, connection parts and laths \nsolid oak or walnut, natural, oiled \nwith silk matte surface. Angle steel, \ncopper-plated, unvarnished.\nTAIDGH SHELF D 2019\nTAIDGH O‘NEILL\nH 77 \u002F W 165 \u002F D 31\nSEE PAGE 89\nShelf, connection parts and laths \nsolid oak or walnut, natural, oiled \nwith silk matte surface.\nZELOS HOME DESK 2008\nCHRISTOPH BÖNINGER \nH 86 \u002F TH 75 \u002F W 68\u002F120 \u002F D 54\nSEE PAGE 138\nFrame chrome-plated flat steel. Body \nMDF, real-wood veneered in walnut, \nwith clear varnish, or high-gloss \nlacquered in black or white. Fold-out \nworktop with black leather desk pad. \nSide compartments, drawer and \nadditional storage space with cable \nduct. Felt gliders in grey.\nHome Desks, Shelves, Accessories \n",194,{"image":746,"text":747,"number":748},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.195.png","BLUE MARINE RUG 1926-1935\nEILEEN GRAY \nL 215 \u002F W 110\nSEE PAGE 41\nRug 100% pure wool. Coloured  \nwith natural vegetable dyes. Hand- \nknotted with 80 knots per square inch \n(6.45 cm²). Dimensional tolerances of \n+\u002F- 5 cm are possible. Rugs available \nin original sizes only.\nBONAPARTE RUG 1926-1935\nEILEEN GRAY \nL 210 \u002F W 100\nSEE PAGE 25\nRug 100% pure wool. Coloured  \nwith natural vegetable dyes. Hand- \nknotted with 80 knots per square inch \n(6.45 cm²). Dimensional tolerances of \n+\u002F- 5 cm are possible. Rugs available \nin original sizes only.\nCASTELLAR RUG 1926-1935\nEILEEN GRAY \nL 175 \u002F W 175\nSEE PAGE 54\nRug 100% pure wool. Coloured  \nwith natural vegetable dyes. Hand- \nknotted with 80 knots per square inch \n(6.45 cm²). Dimensional tolerances of \n+\u002F- 5 cm are possible. Rugs available \nin original sizes only.\nKILKENNY RUG 1926-1935\nEILEEN GRAY \nL 201 \u002F W 235\nSEE PAGE 83\nRug 100% pure wool. Coloured  \nwith natural vegetable dyes. Hand- \nknotted with 80 knots per square inch \n(6.45 cm²). Dimensional tolerances of \n+\u002F- 5 cm are possible. Rugs available \nin original sizes only.\nCENTIMETRE RUG 1926\nEILEEN GRAY \nL 300 \u002F W 200\nSEE PAGES 36, 37\nRug 100% pure wool. Coloured  \nwith natural vegetable dyes. Hand- \nknotted with 80 knots per square inch \n(6.45 cm²). Dimensional tolerances of \n+\u002F- 5 cm are possible. Rugs available \nin original sizes only.\nRugs\nSHIA VASE 2020 CLASSICON \nH 30 \u002F DM 20  \nSEE PAGES 4, 53, 82\nVASE 2014 CLASSICON\nH 20 \u002F DM 22\nSEE PAGES 47, 61, 109, 134\nBOWL 2014 CLASSICON\nH 10 \u002F DM 32\nSEE PAGES 37, 110\nHand-blown glass in various colours.\nBELL SIDE TABLE MINIATURE 2014 \nSEBASTIAN HERKNER\nH 11 \u002F DM 10 \nSEE PAGE 70\nMiniature 1:5 scale. Hand-blown \nglass base in various colours with \nmetal top frame solid brass, with \nclear varnish or solid steel, black \nlacquered. Or glass base in quartz \ngrey with metal top frame solid \ncopper, with clear varnish. Tabletop \ncrystal glass, black lacquered.\nSOL SIDE TABLE MINIATURE 2021\nORTEGAGUIJARRO\nH 10,2 \u002F W 10 \u002F D 9,4 \nSEE PAGE 1\nMiniature 1:5 scale. Parsol glass in \nbronze or grey.\nBRICK SCREEN 1922-1925\nEILEEN GRAY\nH 187 \u002F W 115 \u002F D 24\n \nSEE PAGES 13, 26, 27, 157\nFolding screen. Framework stainless steel. Shims,  \nspacers and end caps polished solid brass, with clear \nvarnish. Panels high-gloss lacquered in black. Handcrafted \nin Germany. An elaborate masterpiece of craftsmanship, \nthis is the first version of the Brick Screen to be authorised \nby the licence holder, Aram Designs Ltd., London. Made  \nto order in a limited edition of 75. Each piece is numbered \nconsecutively and bears the Eileen Gray signature.\nAccessories, Limited Edition, Rugs\nNOTOS STANDING DESK 1997\nTHOMAS KÜHL + ANDREAS KROB \nH 140 \u002F W 78 \u002F D 68\nSEE PAGE 135\nVariably height-adjustable. Five \nangles of tilt. Foldable. Frame tubular \nsteel, powder-coated with fine tex- \nture in jet black or white aluminium. \nTabletop plywood, real-wood \nveneered in black-stained ash or in \nmaple, with clear varnish. Plastic \ngliders in black.\nNYMPHENBURG COAT STAND 1908  \nOTTO BLÜMEL \nH 180 \u002F W 49 \u002F D 44\nSEE PAGES 21, 25, 112\nBrass, powder-coated in black or \nnickel-plated.\nSATURN COAT STAND 2007 \nBARBER OSGERBY \nH 165 \u002F W 59 \u002F D 53 \nSEE PAGES 101, 103, 129, 166\nSolid beech, black-stained or solid \noak or solid walnut, natural, with \nclear varnish. Black metal hooks. \nPlastic gliders in black.\nUSHA UMBRELLA STAND 1932\nECKART MUTHESIUS \nH 50 \u002F DM 28 \nSEE PAGE 112\nFlat steel, powder-coated in black or \nchrome-plated. Base wood, satin \nlacquered in black. Drip pan sheet \nsteel black or grey lacquered.\nTADAIMA CONSOLE 2017\nA+A COOREN \nH 88 \u002F W 73 \u002F D 21 \nSEE PAGES 63, 144\nWall console. Solid oak, natural, \nbrown or black-stained, with clear \nvarnish. Anti-slip transparent plastic \ngliders on the bottom.\nLimited Edition\nP 193\n",195,{"image":750,"text":751,"number":752},"\u002Fmedia\u002Fimages\u002F8a\u002F1ede8e50cbabc535666bb23e3f51b4-25cab80f7c.196.png","Lamps\nRugs, Lamps\nST. TROPEZ RUG 1926-1935\nEILEEN GRAY \nL 204 \u002F W 204\n \nSEE PAGES 129, 164\nRug 100% pure wool. Coloured  \nwith natural vegetable dyes. Hand- \nknotted with 80 knots per square inch \n(6.45 cm²). Dimensional tolerances of \n+\u002F- 5 cm are possible. Rugs available \nin original sizes only.\nWENDINGEN RUG 1926-1935\nEILEEN GRAY \nL 200 \u002F W 208\nSEE PAGE 125\nRug 100% pure wool. Coloured  \nwith natural vegetable dyes. Hand- \nknotted with 80 knots per square inch \n(6.45 cm²). Dimensional tolerances of \n+\u002F- 5 cm are possible. Rugs available \nin original sizes only.\nLANTERN LIGHT TABLE LAMP 2017 \nNERI & HU\nH 54 \u002F W 21 \u002F D 17\nSEE PAGES 80, 81, 169\nFrame natural, burnished or copper- \nplated solid brass, with clear varnish. \nLamp shade hand-blown grey crystal \nglass. Diffusor opal glass white \nsatin-finished. Push-button switch, \ndimmable. Customised LED light \nincluded. Plug-in power supply with \ninterchangeable plugs for Europe, \nUK, Australia and USA. Felt gliders  \nin black. \nPAILLA WALL LAMP 1927\nEILEEN GRAY\nD 12 \u002F DM 8.5 \nSEE PAGE 72\nChrome-plated steel. Two-piece \ncylinder with thread. \nROQUEBRUNE RUG 1926-1935\nEILEEN GRAY \nL 200 \u002F W 200\nSEE PAGES 34, 110\nRug 100% pure wool. Coloured  \nwith natural vegetable dyes. Hand- \nknotted with 80 knots per square inch \n(6.45 cm²). Dimensional tolerances of \n+\u002F- 5 cm are possible. Rugs available \nin original sizes only.\nLANTERN LIGHT FLOOR LAMP \nMEDIUM & TALL 2017 \nNERI & HU\nMedium H 135 \u002F DM 23, Tall H 170 \u002F DM 28\nSEE PAGES 32, 71, 86\nAvailable in two heights.  \nFrame natural, burnished or copper- \nplated solid brass, with clear varnish. \nLamp shade hand-blown grey crystal \nglass. Diffusor opal glass white \nsatin-finished. Foot switch, dimmable. \nCustomised LED light included. \nPlug-in power supply with interchange- \nable plugs for Europe, UK, Australia \nand USA. Felt gliders in black. \nROATTINO FLOOR LAMP 1931\nEILEEN GRAY \nH 151 \u002F W 68 \u002F D 25\nSEE PAGES 59, 137, 142\nS-shaped tubular steel, black lac- \nquered. A pivot enables various \npositions of the lampshade. Lamp \nstand steel, black lacquered. Lamp \nshade fabric in white, plasticized \ninside (hardly inflammable according \nto B1). Foot switch. Felt gliders  \nin grey.\nORBIS FLOOR LAMP 1994\nHERBERT H. SCHULTES\nH 108-158 \u002F DM 26\nSEE PAGES 107, 108, 135\nLamp stand and reflector metal, \ntexture-lacquered in matte black or \nchrome-plated. Rods and joints \nchrome-plated metal. Fully adjust- \nable wireless joints allow for a great \nnumber of lighting positions, reflec- \ntor adjusts up\u002Fdown and rotates \nsideways. Foot switch, dimmable. \nPlastic gliders transparent.\nORBIS DESK LAMP 1994\nHERBERT H. SCHULTES\nH 56-103 \u002F DM 26\nSEE PAGES 107, 109\nLamp stand and reflector metal, \ntexture-lacquered in matte black or \nchrome-plated. Rods and joints \nchrome-plated metal. Fully adjust- \nable wireless joints allow for a great \nnumber of lighting positions, reflec- \ntor adjusts up\u002Fdown and rotates  \nsideways. Flip switch. Plastic gliders \ntransparent. \nTUBE LIGHT FLOOR LAMP 1927\nEILEEN GRAY\nH 104 \u002F DM 25 \nSEE PAGES 8, 24, 25, 48, 113, 132\nChrome-plated tubular steel with \nblack plastic lamp socket for mount- \ning light source. Floor plate chrome- \nplated metal with push-button \nswitch. Felt gliders in grey.\nSELENE PENDANT LAMP 2006\nSANDRA LINDNER \nDM 20, 25, 30, 35, 45 \u002F CL 400 \nSEE PAGES 37, 42, 43, 78, 83, 93, 125, 134, 143, 166, 168, 169, 170, 171\nAvailable in five sizes. Hand-blown clear crystal glass sphere. Centrally \nsuspended by a five-armed light head. Insect protection cover and light head \nin metal, black lacquered or brass-plated or copper-plated, with clear varnish. \nBlack cable, fabric covered. \nBELL LIGHT PENDANT LAMP 2013\nSEBASTIAN HERKNER\nSize 1 H 40 \u002F DM 45, size 2 H 53 \u002F DM 32, size 3 H 34 \u002F DM 29, size 4 H 41 \u002F DM 35,  \nCL 400 \nSEE PAGES 69, 97, 102, 110, 117\nAvailable in 21 versions. Customised combinations are possible with the various \nmodules: light head anthracite grey powder-coated metal, or solid brass  \nor copper, with clear varnish. 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(p.101)\nDesigner photos: Cooren: Joseph Melin, Herkner: Lutz Sternstein, Wilmotte: Lola  \nHalifa-Legrand, Barber Osgerby: Alisa Connan, Goldberg: Monica Menez, Weisshaar: \nMatthias Ziegler, Grcic; Julian Baumann, Torres: Felipe Abe, Haas: Markus Jans, \nSauerbruch Hutton: Markus Lanz \u002F Architekturgalerie München\nProduct photos: Felix Holzer\nReferences: Hotel de Tourrel: Photo Bruno Suet - Porsche Studio Cheongdam: Interior \nDesign Designliga, Photo SSCL, SOHOME - Nordstrom Flagship Store: Photo Connie  \nZhou - Four Seasons Hotel New York: Photo Gabrielle Pilotti Langdon\u002FArchitectural \nDigest (C) Conde Nast - Audemars Piguet: Photo David von Becker - New York Bar: \nCopyright Estrel Berlin \u002F Andreas Gehrke - Le Labo: Etic for Lexus Design Pavilion 2017 \nby Émilie Delalande - L‘Oréal Seine 62: Design Studio Maison Sarah Lavoine, Photo \nFrancis Amiand - Hilton Brisbane: Photo Sharrin Rees - Relais & Châteaux Mammertsberg \n(mammertsberg.ch) Architect Tilla Theus - JW Marriott Resort & Spa: Architects Matteo \nThun & Partners - Munich Re: Architects Sauerbruch Hutton, Photo: Philipp Löffler - \nJunshan Cultural Center: Architects Neri&Hu, Photo Xia Zhi - Beirut Terraces: Architects \nHerzog & de Meuron, Photo Iwan Baan - Sulwhasoo, Selfridges, The Sukhothai: \nArchitects Neri&Hu, Photo Pedro Pegenaute - InterContinental Ljubljana: Interior Design \nwrightassociates, Munich, Photo Will Pryce - FHNW Muttenz: Photo Tom Bisig - Creutz  \n& Partners Global Asset Management S.A.: Photo Serge Brison - Four Seasons Hotel  \nSan Francisco: Photo Don Riddle - Erste Campus: Photo Toni Rappersberger - Sheraton \nGrand Tbilisi Metechi Palace: Interior Design wrightassociates, Munich - Lonely Boutique: \nDesign Rufus Knight, Knight Associates, Photo Simon Wilson - Office for International \nShipping Company: Architects SHH (shh.co.uk), Photo Alastair Lever - Jean-Georges: \nArchitects Neri&Hu\nArticle Villa E1027 by Eileen Gray \nPhotos: Mary Gaudin, Manuel Bougot, Richard Powers and Christian Kain  \nText: Tish Wrigley.  \nArticle originally commissioned and printed by permission of anothermag.com\nText: Harald Willenbrock, Gabriele Thiels und ClassiCon GmbH \nTranslations: SATS Translation Services, Katja Steiner \nLithography: Wolfgang Perez, Matthias Grießel \nCover: Gmund paper \nPrint: Druckerei Vogl GmbH & Co KG \n© ClassiCon GmbH, Munich\nSubject to technical modifications. Actual colours may vary.  \nErrors can not be excluded.\nCopyright \u002F Licencing Rights\nClassiCon® 2021  \nAll rights reserved. None of the products or content included in this  \ncatalogue may be reproduced or copied without prior written consent.\nAll Eileen Gray designs: \nAuthorised by The World Licence Holder Aram Designs Ltd., London\nAbbreviations \u002F Dimensions \nH height, W width, D depth, L length, DM diameter, SH seat height,  \nTH table height, CL cable length. 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