Italian Design: From the 1930s to the 1970s

1 - 30 November 2026

  • The mid-20th century marked an extraordinary period of creativity and innovation in Italian design.

    Moving away from the traditions of Art Deco, Italian architects and designers progressively embraced modernism, combining functionality with elegance, experimentation and a remarkable sense of form.

    The boundaries between architecture, furniture, lighting and sculpture became increasingly blurred. New materials and innovative techniques opened the way to a distinctive design language, where technical ingenuity and artistic expression went hand in hand.

    From the pioneering work of Pietro Chiesa and Gio Ponti in the 1930s to the inventive lighting of Gino Sarfatti, Angelo Lelii and Max Ingrand in the post-war years, Italian design developed an unmistakable identity. This creative legacy continued into the 1970s through Carlo Scarpa and the next generation represented by Afra and Tobia Scarpa, whose work brought renewed attention to materials, craftsmanship and architectural detail.

  • Unique dining table by Ico Parisi
    Unique dining table by Ico Parisi
    Unique dining table by Ico Parisi

    Unique dining table by Ico Parisi

    Walnut-veneered wood, walnut, painted steel
    78.2 x 301 x 90.1 cm
    30 3/4 x 118 1/2 x 35 1/2 in

     

    Ico Parisi's approach to furniture was deeply rooted in his architectural background and his interest in the relationship between objects and the spaces they inhabit.

    The distinctive wooden structure of this piece reveals a careful study of construction and proportion. Its exposed framework, with its interplay of horizontal and vertical elements, gives the design a strong graphic identity while maintaining a sense of openness and lightness.

    Parisi's work reflects the dialogue between Italian craftsmanship and Scandinavian design that emerged during the post-war years. Rather than relying on ornament, he allowed the construction itself to define the character of the piece, creating a design in which structural clarity and decorative elegance are inseparable.

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  • Fontana Arte

    A Legacy of Glass and Light

    Founded in Milan in 1932 by glass manufacturer Luigi Fontana and architect Gio Ponti, Fontana Arte emerged from the encounter between industrial expertise and artistic vision. Under the artistic direction of Pietro Chiesa, the company established a distinctive identity, combining exceptional craftsmanship with innovative approaches to glass, furniture and lighting.

     

    Following Chiesa's death in 1948, Fontana Arte entered a period of transition before Gio Ponti recommended the French master glassmaker Max Ingrand as artistic director in 1954. Trained in the tradition of decorative glassmaking, Ingrand had already earned Ponti's admiration through his remarkable mastery of etched and engraved glass.

     

    His arrival marked a new chapter in the company's history. Building upon Chiesa's legacy, Ingrand introduced a more sculptural and experimental approach to lighting, exploring the relationship between transparency, reflection, materials and light. His creations, both technically sophisticated and artistically expressive, helped establish Fontana Arte as one of the most influential names in post-war Italian design.

  • Rare sculptural lamp by Max Ingrand
    Rare sculptural lamp by Max Ingrand
    Glass, brass, painted brass
    60 x 31 cm
    23 5/8 x 12 1/4 in
    Manufactured by Fontana Arte, Milan, Italy
     

    Designed by Max Ingrand for Fontana Arte in the 1950s, this rare table lamp stands out for its bold geometric composition and unusual combination of materials.

    Sharply angled glass panels intersect with patinated brass elements, creating a dynamic vertical structure in which solid and transparent surfaces appear to alternate. The asymmetrical arrangement introduces a subtle tension, while the carefully balanced proportions give the piece an unexpected sense of lightness.

    With its daring geometry and almost abstract presence, the lamp captures the essence of Ingrand's vision: transforming an everyday source of light into an object of striking artistic individuality.

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  • The Ivory Palm lamp by Pietro Chiesa The Ivory Palm lamp by Pietro Chiesa
    The Ivory Palm lamp by Pietro Chiesa
    Table lamp, ca. 1939
    Painted wood, mirrored glass, nickel-plated metal, brass, fabric shade.
    68 x 34 x 22 cm
    26 3/4 x 13 3/8 x 8 5/8 in
    Manufactured by Fontana Arte, Milan, Italy.

     

    An elegant and sculptural table lamp, distinguished by its stylised ivory-coloured foliage rising from a dark, shaped base.

    The delicate, rhythmic arrangement of the leaves evokes the natural world, interpreted through the refined decorative language of Italian design in the late 1930s. The contrast between the organic, almost architectural silhouette of the foliage and the geometric simplicity of the central stem gives the lamp a remarkable sense of balance.

    Both decorative and functional, this piece beautifully illustrates the dialogue between nature, craftsmanship and modernity that characterised Italian design during this period.

     
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  • Light as an Art Form

    In the 1950s, Italian designers revolutionised the way light was conceived and experienced. Through ingenious mechanisms, adjustable structures and innovative materials, they explored new possibilities for directing, reflecting and diffusing light.

    For Angelo Lelii, Gino Sarfatti and Tito Agnoli, the lamp became a field of experimentation, bringing together engineering, visual balance and an unprecedented freedom of form.

  • Siluro floor lamp by Angelo Lelii
    Siluro floor lamp by Angelo Lelii
    Floor lamp, 1957
    Painted steel, coloured acrylic, Carrara marble, brass, painted brass
    212 x 50 x 50 cm
    83 1/2 x 19 3/4 x 19 3/4 in
    Manufactured by Arredoluce, Monza, Italy
     

    Designed by Angelo Lelii in 1957 and manufactured by Arredoluce, the Siluro floor lamp is a remarkable example of the sculptural experimentation that characterised Italian lighting design in the 1950s.

    Its striking elongated structure, composed of slender metal rods converging at either end, surrounds a suspended, luminous element in coloured acrylic. Resting on a circular Carrara marble base, the composition achieves a delicate balance between geometric precision, transparency and lightness.

    With its almost weightless, futuristic silhouette, the Siluro transcends its functional purpose to become a true luminous sculpture, perfectly illustrating Lelii's inventive and unconventional approach to lighting.

     
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  • Gino Sarfatti
    Gino Sarfatti
    Gino Sarfatti
    Gino Sarfatti
    Gino Sarfatti
    Rare floor lamp, 1946-1948
    Brass, painted aluminum, marble 
    height 160 cm (variable) - height 63 in (variable)
    Manufactured by Arteluce, Milan, Italy
     

    Supported by a round brass fitting on a marble base, this floor lamp is composed of a rotating brass stem that simply rests on a marble sphere used as a centre of gravity.

    The counterweight mechanism is central to the ingenuity of this design. By balancing the adjustable arm through a simple mechanical principle, Sarfatti achieves effortless movement without compromising the lamp's slender silhouette.

    Rather than concealing its engineering, he makes it an integral part of the design. Every component serves a purpose, and the relationship between balance, movement and light becomes the defining character of the lamp. This economy of means perfectly illustrates Sarfatti's approach to lighting: finding elegant solutions to practical problems through technical invention rather than unnecessary decoration.

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  • Tito Agnoli Tito Agnoli
    Tito Agnoli
    Wall lamps, 1956
    Brass, black and white lacquered metal
    19 x 6 x 15 cm
    7 1/2 x 2 3/8 x 5 7/8 in
    Manufactured by O-Luce
     

    Designed by Tito Agnoli in 1956 and manufactured by O-Luce, these wall lamps are a refined example of Italian modernist lighting.

    Their slender cylindrical shades, finished in black and white lacquered metal, are supported by elegant brass fittings. The contrast between the dark metal and warm brass, together with the simplicity of their geometric forms, creates a sophisticated and timeless composition.

    Compact and understated, they perfectly embody the functional elegance and technical ingenuity of Italian design in the 1950s.

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  • Model 1050/2 by Gino Sarfatti
    Model 1050/2 by Gino Sarfatti
    Floor lamp, 1951
    Black marble, brass and lacquered metal
    height 209 cm
    height 82 1/4 in
    Arteluce
     

    Designed by Gino Sarfatti in 1951 for Arteluce, the Model 1050/2 floor lamp is a remarkable expression of the creativity and ingenuity of post-war Italian design.

    Its sculptural composition combines a large upper reflector providing indirect ambient light with two articulated brass arms carrying contrasting yellow and black lacquered metal shades for directional lighting.

    The slender structure and graphic asymmetry give the lamp an almost architectural presence, while the substantial black marble base provides a strong visual anchor. The apparent spontaneity of the composition conceals a carefully considered balance of proportions, materials and light.

    Both playful and sophisticated, this exceptional design illustrates Sarfatti's unique ability to reconcile technical innovation with artistic freedom.

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  • Gio Ponti

    The Maestro

    Beyond his pioneering role at Fontana Arte, Gio Ponti was one of the defining figures of 20th-century Italian architecture and design. Architect, designer, publisher and tireless advocate of modernity, his extraordinary versatility extended from architecture and interiors to furniture, ceramics and lighting.

    Ponti approached architecture and interior design as a unified artistic vision, where furniture, materials, colours and decorative elements contributed to the harmony of a space. His distinctive ability to reconcile elegance, craftsmanship and innovation profoundly influenced the evolution of modern Italian living.

    Through his architectural projects and his influential magazine Domus, founded in 1928, Ponti helped shape the international identity of Italian design, leaving a legacy that continues to inspire architects and designers today.

  • The legacy of Carlo Scarpa

    Cornaro Sofa, 1973
    Solid Iroko wood
    66 x 220 x 85 cm
    26 x 86 5/8 x 33 1/2 in
    Ed. Gavina
     

    Few architects of the 20th century approached design with the sensitivity and intellectual rigour of Carlo Scarpa. Renowned for his exceptional understanding of materials, craftsmanship and architectural detail, Scarpa developed a distinctive language in which tradition and modernity coexist, and every structural element becomes part of the aesthetic expression.

    Designed in 1973 for Simon Gavina as part of the Ultrarazionale collection, the Cornaro sofa is a remarkable expression of this philosophy. Its sculptural wooden framework, deliberately exposed, embraces generous upholstered cushions, creating a striking contrast between architectural discipline and softness. The visible construction and carefully considered connections reflect Scarpa's belief that the beauty of an object lies as much in how it is made as in its final form.

    While many of his contemporaries sought to conceal structure beneath upholstery, Scarpa made it an essential part of the composition. In doing so, he challenged conventional notions of upholstered furniture, bringing the precision and material sensitivity of his architecture into the domestic interior.

    The Cornaro is more than a sofa. It is a small piece of architecture, embodying Scarpa's singular contribution to Italian design: the transformation of construction, material and detail into an artistic language of extraordinary refinement.
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  • Africa table by Afra e Tobia Scarpa
    Africa table by Afra e Tobia Scarpa
    Table, 1975
    Wood
    70 x 130 x 130 cm
    27 1/2 x 51 1/8 x 51 1/8 in
    Artona Collection, Maxalto, Italy
     

    The son of the celebrated Venetian architect Carlo Scarpa, Tobia Scarpa inherited a profound sensitivity to materials, craftsmanship and architectural detail. Together with his wife and creative partner Afra, he developed this legacy into a distinctive approach to furniture design, combining traditional craftsmanship with the possibilities of modern industrial production.

    Created in 1975 for Maxalto as part of the celebrated Artona collection, the Africa dining table and chairs beautifully illustrate this philosophy.

    The circular table combines a richly figured wooden top, enhanced by intricate contrasting inlays, with a powerful architectural pedestal.

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  • Africa chairs by Afra e Tobia Scarpa
    Africa chairs by Afra e Tobia Scarpa
    Set of four chairs, 1975
    Wood and leather
    Artona Collection, Maxalto, Italy

     

    The accompanying chairs are distinguished by their sculptural backrests, whose organic forms and rhythmic dark lines reveal an exceptional attention to the decorative possibilities of wood.

    While Carlo Scarpa approached each project with the precision of an architect and the sensitivity of a craftsman, Afra and Tobia translated this philosophy into furniture conceived for contemporary living.

    The Africa collection represents a fascinating continuity between two generations of Italian design, where respect for tradition and the pursuit of innovation coexist in a remarkably personal and enduring aesthetic.

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  • Across five decades, these creations reveal the diversity of Italian design, united by a shared conviction that beauty, innovation and craftsmanship are inseparable. From the pioneering elegance of the 1930s to the expressive freedom of the 1970s, each generation brought its own interpretation of modernity, leaving a legacy that continues to inspire.