Carlo Scarpa Seating

Carlo Scarpa Cornaro Three Seater Sofa Manufactured by Cassina SCULPTURAL ELEGANCE Geometric austerity encounters enveloping padding in this sofa designed by maestro Carlo Scarpa ...

Carlo Scarpa Cornaro Armchair Manufactured by Cassina SCULPTURAL ELEGANCE A favourable balance between geometric rigour and enveloping shapes designe...

Introducing a refined set of four Kentucky model chairs, designed by the esteemed Carlo Scarpa in the 1970s and later produced by Bernini in the 1980s. These chairs are meticulously ...

Carlo Scarpa walnut and black leather chairs mod. 1934/765 for Bernini, 1977. 765 is planned by Carlo Scarpa in 1934, year from which the chair will ta...

Set of four 1934 756 chairs in walnut wood and cushions in leather, designed by Carlo Scarpa and produced by Bernini in the 1970s. Initially designed for Scarpa’s own Venetian house...

An original Carlo Scarpa Cornaro loveseat / armchair, pure Alpaca fabric, Italy. Produced by Gavina in the 1970s. Fast shipping worldwide.

Pair of Cornaro 140 armchairs designed by Carlo Scarpa. Ash wood structure, original chenille velvet upholstery. Polyurethane padding. The one-unit side and back cushion is fastened...

Carlo Scarpa “Cornaro” sofa for Gavina, wood and ivory velvet, 1973. The Cornaro sofa represents a sublime exemplification of the harmony be...

Carlo Scarpa “Cornaro” sofa for Gavina, wood and turquoise velvet, 1973. The Cornaro sofa represents a sublime exemplification of the harmon...

Two vintage oak wood chairs by Carlo Scarpa for Gavina. Italy 1974. Excellent condition.

Carlo Scarpa “Cornaro” sofa for Gavina, wood and ivory linen, Italy, 1973. The Cornaro sofa represents a sublime exemplification of the harmony between...

Carlo Scarpa “Cornaro” sofas for Gavina, wood and turquoise velvet, 1973, set of two. The Cornaro sofa represents a sublime exemplification of the harmony between Japanese minimalis...

Iconic "Cornaro" Sofa by Carlo Scarpa for Gavina, 1973 - A Masterpiece of Italian Modernist Design Designed by legendary Italian architect Carlo Scarpa in 1973, this set of two "Cor...

Italian modern Three-seater sofas Cornaro by Carlo Scarpa for Simon Gavina, 1980s Pair of three-seater sofa mod. Cornaro with round section structure in black painted solid wood. The...

Italian modern Three-seater sofa Cornaro by Carlo Scarpa for Simon Gavina, 1980s Iconic and vintage three-seater sofa mod. Cornaro with round section structure in black painted solid...

Original Kentucky chairs designed by Carlo Scarpa for Bernini, 1970s. Each featuring a cylindrical walnut wood frame, brown leather seat and back, and burnished brass ferrules on the...

All the rigor and geometry of the great Italian designer Carlo Scarpa are expressed in this splendid and rare set of 6 wooden chairs made for Gavina in the early 1970s. An essential...

Italian modern Three-seater sofa Cornaro by Carlo Scarpa for Simon Gavina, 1980s Iconic and vintage three-seater sofa mod. Cornaro with round section structure in black painted solid...

Cornaro two-seater sofa, designed by Carlo Scarpa and manufactured by Studio Simon in 1974. Made of Iroko wood, foam, and azure chenille velvet. Excellent vintage condition. Born in Venice on June 2nd, 1906, Carlo Scarpa began working very early. Only a year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity; from 1927, he began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building which stands on the banks of the Grand Canal, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa was constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, all worth mentioning. One of his key works, despite its relatively modest diminished proportions, was the first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in how twentieth-century museums were set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his most incredible ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti Award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on renovating and restoring the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he worked on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began building a villa in Udine for the Veritti family. To shed some light on how much his work evolved over the years, it may be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, plenty of other episodes can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen in 1973, Carlo Scarpa started building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he carried out simultaneously on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, arising out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem,” [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea,” followed by a cloister that ends by a small chapel, with an arcosolium bearing the family sarcophagi, the central pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways, teamed with the luminosity of these harmoniously blended spaces, shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all his many skills to come up with this truly magnificent space. As well as an outstanding commitment to architectural work, with the many projects we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure.” Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded eight years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana,” “Quatour,” and “Orseolo.” While in 1974, they added a couch and armchair, “Cornaro,” to the collection and the “Toledo” bed...

All the rigor and geometry of the great Italian designer Carlo Scarpa are expressed in this splendid and rare set of 6 wooden chairs made for Gavina in the early 1970s. An essential...

Carlo Scarpa, Cornaro 140 armchair in ash wood, made for Gavina, Italy, 1973 This is one of the rarest and most fascinating versions of the famous sofa created by Carlo Scarpa, whic...

**Kentucky** is a chair born from the collaboration between Carlo Scarpa and the company Bernini. It features an apparent formal simplicity that, in reality, reflects a highly comple...

Cornaro living room set is composed of a two-seater sofa with two armchairs, a frame in lacquered wood seat, and a back in padded fabric, with leather ties. Designed by Carlo Scarpa...

Carlo Scarpa (1906- 1978) was an Italian architect and designer heavily influenced by the history of Venetian culture, materials and landscape. in 1926 obtained his diploma of Profes...

Cornaro 300 sofa designed by Carlo Scarpa. Solid hardwood structure (iroko). Polyurethane padding. Upholstery in original chenille velvet. The one-unit side and back cushion is fast...

Carlo Scarpa Black Leather “Kentucky” Dining room Chairs for Bernini, Italy 1977 "Set of six model 783 "Kentucky" dining room chairs, designed by Carlo Scarpa for the Italian manuf...

Extraordinary yet elegant oak wood chairs by Carlo Scarpa. Carlo Scarpa (2 June 1906 – 28 November 1978) was an Italian architect, influenced by the ma...