Kartell Battista

Driven by his belief that beautiful surroundings can heighten the enjoyment of even mundane everyday rituals, Italian architect and industrial designer Antonio Citterio creates furniture that combines sophisticated form with functionality. Citterio’s timeless neoclassical-inspired chairs, outdoor furniture, desks and other pieces have earned him a place among the most influential furniture designers working in his native country.

Born in 1950 in Meda, Citterio grew up just a stone's throw away from the artistic hub of Milan. In 1972, at just 22 years old, he opened his first design studio and designed a chair for the La Rinascente department store while completing his studies in architecture at the Polytechnic University of Milan. Citterio established a partnership with famed furniture designer Terry Dwan, and the pair worked together during the 1980s and 1990s, designing striking buildings in European cities as well as Japan. He is currently chairperson at an interior design and architecture firm with fellow architect Patricia Viel and eight other partners. 

Citterio taught at the Università della Svizzera Italiana in Mendrisio, Switzerland, from 2006 to 2016. He holds art director roles for high-end furniture manufacturers Maxalto, Arclinea and Azucena, and today, Citterio lounge chairs, sofas and other furnishings are in hotels all over the world. Citterio’s work is synonymous with luxury, and has yielded collaborations with reputable brands such as Kartell, Knoll, Flexform, Vitra and B&B Italia. His Sity seating collection for the latter and kitchen furnishings for Arclinea are among his best-known innovations.

Citterio has received many awards and accolades for his design work, including the Compasso d’Oro. He was also given the title of “Royal Designer for Industry” by the Royal Society for the Encouragement of Arts in 2008. 

Find Antonio Citterio seating, lighting, tables, case pieces and other furniture on 1stDibs.

The late 19th and early 20th centuries saw sweeping social change and major scientific advances — both of which contributed to a new aesthetic: modernism. Rejecting the rigidity of Victorian artistic conventions, modernists sought a new means of expression. References to the natural world and ornate classical embellishments gave way to the sleek simplicity of the Machine Age. Architect Philip Johnson characterized the hallmarks of modernism as “machine-like simplicity, smoothness or surface [and] avoidance of ornament.”

Early practitioners of modernist design include the De Stijl (“The Style”) group, founded in the Netherlands in 1917, and the Bauhaus School, founded two years later in Germany.

Followers of both groups produced sleek, spare designs — many of which became icons of daily life in the 20th century. The modernists rejected both natural and historical references and relied primarily on industrial materials such as metal, glass, plywood, and, later, plastics. While Bauhaus principals Marcel Breuer and Ludwig Mies van der Rohe created furniture from mass-produced, chrome-plated steel, American visionaries like Charles and Ray Eames worked in materials as novel as molded plywood and fiberglass. Today, Breuer’s Wassily chair, Mies van der Rohe’s Barcelona chair — crafted with his romantic partner, designer Lilly Reich — and the Eames lounge chair are emblems of progressive design and vintage originals are prized cornerstones of collections.

It’s difficult to overstate the influence that modernism continues to wield over designers and architects — and equally difficult to overstate how revolutionary it was when it first appeared a century ago. But because modernist furniture designs are so simple, they can blend in seamlessly with just about any type of décor. Don’t overlook them.

Today, the phrase “card tables” might evoke the image of common plastic tables covered in felt, but historically these tables were statement pieces that invited merriment and were made of mahogany, walnut or other fine woods. Today, antique and vintage card tables and tea tables can enliven a space and encourage spirited competition in your home.

Card tables originated in England in the late 17th century, and during this time, as well as the 18th century, game tables in general became quite popular. We refer to early versions of card tables as antique Regency card tables because the Prince of Wales ruled England during the period and his official title was Regent. Back then, these furnishings were typically small, rectangular tables outfitted with hinged tops so that they could be opened to reveal a playing surface. Ornamental flourishes of the era might have included an integration of fine velvet or needlepoint as lining for the table’s surface. For furniture makers, wide adoption of a dense woven green material called baize for table covering — similar to felt but stronger — occurred during the early 1700s.

Tea became widely affordable during the early 1800s in England, and tea time exploded in popularity and involved large tea sets — especially during the Victorian era — as well as small, well-crafted tea tables. Your beverage was paired with petite baked goods, and the tea table would be home to teacups, saucers, a milk pot and other items. While tea tables are similar in design to card tables, the focus is more on presentation. Georgian card tables and tea tables — furniture made during the reign of England’s three Georges — were especially ornate. Some featured intricately carved design elements on each side and stood on elegantly curved legs. After all, tea time became a sacred ritual that society women dressed up for. It was a time to pause, reflect and sip a comforting beverage.

When no guests were visiting to enjoy tea or play games, owners could fold down both card tables and tea tables to their smaller size and tuck them away into a corner of the room.

Antique and vintage card tables and tea tables can make a lovely addition to any living room, entertainment room or game room. Find yours on 1stDibs.