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Chiavari Chairs given to Pope Leo XIII by the Italian City of Chiavari when the city became a diocese in 1892 The chair is designed with each component made for the specific stresses it will carry. Descalzi designed a slot system for the construction and a system to tie the strips of the purple willow which form the seat of the chair directly ...
Italian baroque furnishing also had considerable Eastern influences. [4] Venetians, who at the time still held a vast sea empire, often imported rich fabrics and materials from other nations to enrich their furniture with eastern influences. Their furniture was chiefly sumptuous and luxurious, and included rich silks and green and gold lacquer. [4]
Much furniture was also relatively grotesque (a French variation of the Italian word grottesco), often creating sculpted odd-looking gargoyles and monsters to make these items seem more amusing. [1] Caryatids became popular at the time, and were made out of marble (the rich people used them as legs to their dining tables).
The first results of the collaboration were three chrome-plated tubular steel chairs designed for two of his projects, The Maison la Roche in Paris and a pavilion for Barbara and Henry Church. The line of furniture was expanded for Le Corbusier's 1929 Salon d'Automne installation, 'Equipment for the Home'.
With the Italian economic miracle, Italy saw a growth in industrial production and mass-made furniture. Yet, the 1960s and 1970s saw Italian interior design reach its pinnacle of stylishness. By that point, with Pop and post-modern interiors, the phrases "Bel Design" and "Linea Italiana" entered the vocabulary of furniture design. [2]
Italian Rococo furniture was usually upholstered with rich and colourful fabrics, such as velvet and silk, and furniture was usually lacquered. [1] Furniture from Piedmont was typically very French in style, Lombardy produced more sober and wooden furnishings, Genoa was known for its rich fabrics and colourful styles, and Venice for its ...
The Masters collection continued with the re-issue in 1983 of furniture by Erik Gunner Asplund, the acquisition from the Frank Lloyd Wright Foundation of rights of reproduction (1986) of furniture by Frank Lloyd Wright, including the Barrel chair (1937), and, finally, in 2004 furniture by Charlotte Perriand.
Even such a room sometimes had stylistic mixtures such as wainscots which were set in the little square panels or in the parchment panels of the preceding reigns, or in the round-arched panels peculiar to the Elizabethan itself — miniature and open representations of which are to be seen on the back of the chair made from the wood of Sir ...