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Dining tables from FontanaArte , Designed by Gae Aulenti

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Gae Aulenti 1993 design; this example c. 2010

The baltimore museum of art baltimore, maryland, united states.

• Title: Tour Table
• Creator: Gae Aulenti
• Creator Lifespan: Italian, born 1927
• Date: 1993 design; this example c. 2010
• Location: Milan, Italy
• Type: Furniture
• Rights: Courtesy of the Artist and FontanaArte
• Medium: Ground glass , stainless steel , chromium-plated metal , rubber
• Dimensions: 28 x 47 3/16 x 47 3/16 in. (71.1 x 119.9 x 119.9 cm.)
• Credit Line: Decorative Arts Acquisitions Endowment established by the Friends of the American Wing
• Additional Artist Details: FontanaArte, founded 1932

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• Modern Furniture
• Coffee Tables

FontanaArte 3005 Tour Table by Gae Aulenti

Price: $9,995.00

Authentic Merchandise > Best Price > Free Shipping

Timeless Design: Tour Coffee Table by Gae Aulenti for Fontana Arte

The excentric Tour table was designed in 1993 by Gae Aulenti for the manufacturer Fontana Arte .

As well as in the living room as in the office or waiting room, the Tour table is a real eye-catcher. Its transparent table top made of cut float glass, 15 mm thick, reveals what makes the Tour table so special: It rests on four Pivot tires, that are mounted to the table top by four stainless steel discs.

The forks are chrome-plated and the tire cover is made of solid rubber. Especially beautiful: The combination of transparent glass with the coolness of the forks and the wheels made of chrome.

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Gae Aulenti: A Pioneer in Furniture Design

Table of Contents

Early Years and Career Beginnings

Notable works and contributions, legacy and final years.

• Gae Aulenti’s Unique Style
• Gae Aulenti’s Impact on Architecture

Gae Aulenti: Architectural Works

• Gae Aulenti’s Design Philosophy

Pipistrello Lamp

Jumbo table, april chair, tavolo con ruote and tour coffee table, king sun lamp, patroclo lamp, sanmarco table, oracolo and mezzoracolo lamps, tennis furniture series, sgarsul rocking chair, locus solus series, parola lamp, gae aulenti series.

• Conclusion: Gae Aulenti’s Legacy

Gae Aulenti was not just an architect but also a designer and one of the most influential figures in the Italian design scene. She is best known for her innovative furniture design approach, combining functionality and aesthetics.

Gae Aulenti’s Biography

Born on December 4, 1927, in Palazzolo dello Stella, Gae Aulenti is a revered figure in design and architecture. With her work in architectural exhibits and restoration, she became recognized as one of the leading architects of her generation, leaving a significant imprint on the narrative of international design. Her illustrious career was decorated with many awards, including the prestigious Imperial Prize for Architecture conferred by the Japan Art Association in Tokyo.

Aulenti’s journey began in Milan during the 1950s, where she trained as an architect. At that time, the Italian architecture scene was focused on historical-cultural research and the revival of architectural values from the past, leading to the emergence of the Neoliberty movement. Aulenti played a pivotal role in this trend, diverging from the prevailing rationalism. She also gained valuable experience as part of the editorial staff of Casabella-Continuità and through her academic collaborations with renowned architects Giuseppe Samonà and Ernesto Nathan Rogers.

Aulenti’s design prowess was showcased through various notable projects. In 1965, she created the iconic Pipistrello table lamp for the Olivetti showroom in Paris, which propelled her into the limelight. She went on to work on significant projects, such as the renovation of Gianni Agnelli’s Milanese apartment in Brera. Her participation in the exhibition “Italian: The New Domestic Landscape” at MoMa in 1972 further solidified her reputation, where she presented her philosophy of architecture as closely interconnected with the existing urban environment. Additionally, her tenure as artistic director at Fontana Arte from 1979 onwards allowed her to continue creating influential designs, including the Giova Lamp and Table with Wheels.

In 2005, Aulenti established Gae Aulenti Architetti Associati with Marco Buffoni, Francesca Fenaroli, and Vittoria Massa, marking a full-circle moment in her career. Sadly, she passed away in Milan on October 31, 2012, shortly after being awarded the Lifetime Achievement Award by the Triennale. Piazza Gae Aulenti, a circular square, was inaugurated in Milan on December 7, 2012, to honor her lasting impact on design and architecture.

Gae Aulenti’s Unique Style

Her background strongly influenced Aulenti’s style in architecture. She believed interiors should be designed as a whole, with every element complementing each other. Her designs were marked by a balance between functionality and beauty, focusing on clean lines and geometric shapes. She also incorporated unconventional materials such as glass, steel, and plastic into her creations.

Gae Aulenti’s Impact on Architecture

Aulenti’s impact on architecture is monumental, reflected in her influential and landmark designs that have stood the test of time. She was renowned for her ability to transform historic spaces while respecting and retaining their original charm. Her most notable architectural endeavor is perhaps the conversion of the Beaux-Arts Gare d’Orsay railway station in Paris into the Musée d’Orsay. Undertaken in 1981, this project showcased Aulenti’s deftness in marrying old-world grandeur with contemporary aesthetics. 

In addition, Aulenti also oversaw the conversion of the 13th-century Palazzo Grassi into an art museum, demonstrating her knack for restoring and revitalizing historic buildings. On a smaller scale, Aulenti’s architectural prowess can be seen in her creation of Fiat, Knoll, and Olivetti showrooms. Each of these spaces is a testament to Aulenti’s distinctive architectural style that championed functionality while never compromising aesthetic appeal. 

Through such architectural feats, Aulenti has left an indelible mark on the world of design and architecture, proving that buildings, much like her furniture pieces, can be both utilitarian and works of art. Her architectural legacy inspires architects and designers worldwide, and her works stand as powerful reminders of her innovative mind and unique design ethos.

Gae Aulenti left indelible impressions on the furniture design industry, urban landscapes, and architectural wonders throughout her illustrious career. Her works often carried a distinctive flair, merging traditional artistry with modern sensibilities. Some of her most notable works span continents, each infused with Aulenti’s unique design perspective.

• Orsay Museum (1980-86) : One of her most renowned projects, the Orsay Museum in Paris, is a masterful display of the Neoliberty style. The museum’s vaulted ceiling showcases beautiful floral-themed lunettes, demonstrating Aulenti’s keen eye for integrating natural elements in structural design.
• Route through Sempione Park (1960) : Marking the XII Triennale di Milano entrance, Aulenti designed a captivating route through Sempione Park. This project highlighted her ability to blend architectural designs with the natural world.
• Olivetti Showrooms (1965, 1968) : Aulenti’s designs for the Olivetti showrooms in Paris and Buenos Aires showcased her innovative approach to designing commercial spaces. Her efforts led to the establishment of an iconic Olivetti brand identity.
• Renovations and Private Residences (1970, 1973, 1975, 1990) : Aulenti’s aptitude for interior design was evident in her renovation projects and the aesthetic she developed for private residences in Milan, Pisa, Parma, and Saint-Tropez. Each project offered a personalized and intimate reflection of the resident’s unique style and preferences.

The list goes on, including the redevelopment of the Gare d’Orsay and construction of the Orsay Museum in Paris (1980/86), the installation of the National Museum of Modern Art at the Center Georges Pompidou, Paris (1982/85), renovation of Palazzo Grassi, Venice (1985/86), and the Asian Art Museum, San Francisco (1996/2003), to name a few. Gae Aulenti’s career was an ongoing exploration of style, form, and function, significantly impacting the world of architecture and design.

Gae Aulenti’s Design Philosophy

Aulenti’s design philosophy was deeply rooted in her fierce belief that architecture and design should not be isolated from the rest of life. She fervently advocated that design is a holistic and integrated process. This is evident in her approach to furniture design, where she often blurred the lines between architecture, art, and design, creating functional yet aesthetically appealing pieces. Her designs, be they the iconic Gae Aulenti lamps or the unconventional Sgarsul rocking chair, embody her philosophy of breaking away from traditional forms and exploring new possibilities. She once said, “The conscious principle of not designing objects as single units but as part of a bigger universe is a consistent element of my work.” This sentiment reflects Aulenti’s commitment to designing pieces that stand alone and interact with and impact their surroundings. Her revolutionary perspective continues to influence the design world, proving the enduring power of her remarkable vision.

Iconic Furniture Designs by Gae Aulenti

Aulenti’s furniture designs are considered groundbreaking for their innovative use of materials and form. Here are some of her most iconic pieces:

The Pipistrello lamp, designed by Gae Aulenti for Martinelli Luce, is a global design icon that revolutionized the industry. Despite initial challenges, it gained international recognition in 1972 and remains a timeless piece in the MoMA’s permanent collection. With its iconic bat-wing-inspired diffuser and adjustable height, the Pipistrello lamp continues to captivate with its perfect blend of form and function.

In 1965, Gae Aulenti designed the Jumbo Table for Knoll International. Its unique design features a large marble top supported by four oversized legs. The table’s striking proportions make it a focal point in any room.

The April Chair , designed by Gae Aulenti for Zanotta in 1964, is a captivating and stylish folding chair. With a durable stainless steel structure and lightweight aluminum alloy joints, it offers both comfort and versatility. Its removable black leather cover ensures easy cleaning. The chair’s timeless design and functional features make it a tasteful addition to any living room.

In the early 1980s, Gae Aulenti (1927-2012) became the artistic director of Fontana Arte, a Milanese company founded in 1932 by Luigi Fontana and Giò Ponti. They specialized in producing furniture objects. In 1980, Aulenti designed the “Tavolo con Ruote,” featuring a 15mm thick, beveled, tempered glass top with four 360-degree swiveling industrial wheels. This allowed the table to be easily moved.

Thirteen years later, Aulenti introduced an evolution of her “Tavolo con Ruote,” giving birth to the “Tour,” a classic of Italian design. Aulenti’s glass tables don’t have traditional legs but instead use wheels from old bicycles or industrial carts, providing a unique functionality. The transparent cut crystal glass makes up the tabletop, supported by four pivoting bicycle wheels with stainless steel disks. The forks have a chrome-plated finish, and the tire cover is rubber. The combination of transparent glass with the forks and chrome wheels creates a stunning aesthetic. The “Tour” table is an extravagant piece of furniture, perfect for any living room, office, or waiting room. It is considered one of the most exclusive tables in circulation, a true classic of Made in Italy. Note: The wheels are not functional and should not be used to move or shift the table.

Another one of Aulenti’s famous light fixtures is the King Sun Lamp, which she designed in 1967 for Kartell. Made of painted aluminum and acrylic, this lamp represents Aulenti’s futuristic and experimental style. Its name comes from its resemblance to the sun’s circular shape and radiating metal rods.

The Patroclo Lamp, designed by Gae Aulenti in 1975, is a remarkable example of her innovative design approach. With its delicate yet warrior-like design, featuring a blown glass body enveloped in a rhomboidal metal mesh, the lamp combines fragility and strength. The resulting faceted glass casts unique light patterns, while the steel wire offers protection and creates a captivating contrast. This standout piece, showcased at the Museum of Modern Art in New York, adds a touch of timeless beauty to any space.

The Sanmarco Table, designed by Gae Aulenti in 1984, showcases her characteristic experimentation and transition from rationalist to “Hi-Tech” style. With a detachable steel structure and neutral color, this minimal and elegant design seamlessly blends into any environment. This piece exemplifies Aulenti’s ability to adapt to different styles while utilizing contemporary technology.

At first glance, the Ruspa Lamp ‘s futuristic design defies categorization. Gae Aulenti designed Ruspa for Martinelli Luce in 1967-1968, and it has been revived from auctions and specialty markets. Inspired by an excavator arm, the lamp’s vertical movement and orientation resemble an operational excavator. The Ruspa lamp, a landmark in futurism, symbolizes the inception of the Italian space design movement between 1968 and 1972. It features a white lacquered metal structure. In residential settings, it becomes the focal point, commanding attention. Gae Aulenti’s lamps are spatial compositions initially present as sculptures, showcasing her innovative vision in design history.

Aulenti’s Oracolo and Mezzoracolo lamps, created in 1965, are another iconic pair in her esteemed lighting collection. These exquisite pieces were explicitly designed for Artemide, an acclaimed Italian company known for collaborating with renowned designers. The Oracolo lamp is a stunning floor lamp with a white opal glass globe on top of a dark brown coated metal cylinder. On the other hand, the Mezzoracolo is a more compact version, perfect for placing on tables. Both lamps have a unique, almost futuristic shape, showcasing Aulenti’s visionary design style.

In 1971, Aulenti designed the iconic Tennis furniture series for Gavina, an Italian design company. The series includes a sofa, armchair, and ottoman with a distinctive oval shape and soft curved lines. The name comes from the tennis ball-shaped cushions that add a playful touch to the pieces. The Tennis series is not only aesthetically pleasing but also reflects Aulenti’s attention to ergonomic design, making it both comfortable and stylish.

In the early 1960s, Milan experienced an economic boom that sparked a thirst for innovation while honoring tradition. Gae Aulenti, a budding designer, made her mark with the iconic Sgarsul rocking chair . This marked a crucial era in Italian design, embracing a more personalized connection to domestic spaces. Inspired by a classic Thonet model, the chair combined industrial manufacturing and traditional craftsmanship. Aulenti’s innovative approach respected tradition while bringing a timeless quality to her designs.

In 1967, Gae Aulenti introduced the revolutionary Locus Solus outdoor furniture series. With its vibrant curves and metal tubing construction, the series referenced the artistic movement of pataphysics. The collection gained fame through film features and exhibitions. The Locus Solus series showcased a harmonious contrast, combining rounded, fluid lines with adaptable design. Aulenti’s focus on aesthetics and practicality made the collection blend traditional craftsmanship and modern aesthetics.

The Parola Lamp, designed by Gae Aulenti in collaboration with Piero Castiglioni for FontanaArte in 1980, is a classic yet modern lighting fixture that showcases the company’s glasswork expertise. It combines different glass processing techniques to create a unique design. With its softly colored glass and harmonious shapes, the Parola Lamp adds a touch of luxury to any setting.

The Gae Aulenti Kartell series , introduced in 1974, is an iconic collection that revolutionized furniture design. Designed by Gae Aulenti in collaboration with Kartell, this series showcases exceptional craftsmanship, timeless elegance, and innovative use of rigid polyurethane. With a vibrant color palette and comfortable seating, it has become a timeless classic in the design world. Kartell’s commitment to pushing boundaries and fostering creativity is evident in this remarkable collection.

The Giova Lamp , designed by Gae Aulenti in 1964, is a remarkable piece that functions as both a lamp and a vase. It showcases Aulenti’s innovative approach to design with its unique shape and materials. The lamp’s dual function and aesthetic appeal have made it a favorite among design enthusiasts, reflecting the creativity and ingenuity of its creator and the legacy of FontanaArte.

Conclusion: Gae Aulenti’s Legacy

Gae Aulenti’s impact on the design world is enduring. Her innovative approach and appreciation for tradition have influenced countless designers who followed in her footsteps. Collaborating with Knoll International, an esteemed design company, Aulenti’s furniture designs stand alongside those of renowned designers such as Marcel Breuer , Afra & Tobia Scarpa , Ludwig Mies Van der Rohe , and many more. Her harmonious blend of form and function, traditional craftsmanship, and modern aesthetics have made her a stalwart of Italian design. Her works like the Tennis series, Sgarsul Rocking Chair, and Locus Solus series continue to captivate audiences with their unique blend of aesthetics and practicality. The Gae Aulenti lamps, in particular, are a testament to her ability to transcend design norms and create functional art. Her legacy lives on, inspiring and educating future generations of designers and architects.

Do you want to buy or sell Gae Aulenti furniture? Contact us!

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Italian Design Club - +39 3274940084 - WhatsApp - Contact Us - ©2024

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Home Design Ideas For Modern Living

• Architecture

Tour Table by Gae Aulenti

Here is a transparent table made from used bicycle wheels to support a 4-foot-square sheet of glass called Tour Table. It was designed by an Italian architect and designer Gae Aulenti for FontanaArte.The table is pretty expensive – 6.000$ but it`s cool and very high-end. Gae Aulenti is short for Gaetana Aulenti and she is a very well-known Italian designer, also known for designing the interior of some famous buildings like the museum of modern art and so on.

Any way, the idea of designing this table came probably from the need to have a coffee table on wheels so as to be able to move it around the house, wherever you might need it. And why not use bike wheels instead of the normal small table wheels for a better visual impact? And maybe as an homage to the Tour of Italy.You can actually use these wheels and move this interesting table around. You only need to be careful when you want it still and arrange the wheels so as not to move.

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Coffee Table with Wheels by Gae Aulenti for Fontana Arte, 1980s

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About the Creator

Gae Aulenti

Italian architect-designer Gaetana “Gae” Aulenti (1927-2012) was born in the town of Palazzolo dello Stella, near Trieste. Defying her parents’ wishes, she studied architecture at the Politecnico di Milano, graduating in 1954—one of only two women in a class of 20.

From 1955 to 1965, Aulenti was a contributor and Art Director for architectural magazine Casabella. During this time, she became an active proponent of the Neo Liberty movement and championed the revival of traditions motifs and individual expression, which had been discouraged during the years dominated by modernism. Through her wide-ranging work—covering industrial and exhibition design, furniture, graphics, stage design, lighting, and interior design—she became a leading voice of postmodernism as the 20 th  century progressed. Notably, her work was featured in MoMA’s landmark 1972 exhibition, Italy: The New Domestic Landscape , which also spotlighted the work of pioneering talents like Mario Bellini , Joe Colombo , Ettore Sottsass , and Superstudio , to name a few.

Aulenti’s architectural career is remarkable for the fact that she salvaged and repurposed a substantial number of buildings that were neglected or even set for demolition. In 1980, she was offered the difficult challenge of reinventing the old Beaux-Arts-style Gare d’Orsay railway station in Paris, transforming it into the famous Musée d‘Orsay. In this project, she chose to bridge the architectural gap between the Louvre and the Pompidou Centre by creating a cavernous and expansive interior for the museum. When the Musée d‘Orsay opened in 1986, it was deemed too radical by many critics. Aulenti, however, was quick to point out the thousands of visitors who lined up each day to visit.

Soon after, Aulenti took on more large-scale museum re-designs, including the Musée National d’Art Moderne at the Centre Pompidou (1982-85); Palazzo Grassi in Venice (1985-86); and the new Asian Art Museum in San Francisco (1996-2003). Other architectural achievements include the new entrance for Santa Maria Novella Train Station in Florence (1990); Palazzo Italia at EXPO in Seville (1992); the restoration of the Scuderie Papali at the Quirinale in Rome (1999); the renovation of Piazzale Cadorna in Milan (2000); the Museo and Dante stations on underground line 1, alongside the redesign of Piazza Cavour and Piazza Dante in Naples (1999-2002); the Catalan Museum of Art in Barcelona (1985-2004); the restoration of the Palavela in Turin for the Winter Olympic Games in 2006; the  Istituto Italiano di Cultura  in Tokyo (2006); and the restoration of Palazzo Branciforte in Palermo (2011).

In the areas of furniture, branding, and interior design, Aulenti was regularly commissioned by major international companies, such as Artemide , Banca Commerciale Itliana, Fiat, Ideal Standard, Knoll International , Louis Vuitton , Martinelli Luce , Olivetti , and Pirelli , among others. Iconic designs by Aulenti include the   Pileino Lamp for Artemide (1972); the Giova Lamp (1964), Tavolo Con Ruote Table (1980), and Tour Table (1993) for Fontana Arte ; the Sgarsul Rocking Chair (1962) and Locus Solus Chair (1963) for Poltranova ; and April Folding Chair (1964), and Sanmarco Table (1984) for Zanotta . Many of her designs remain in production today.

Aulenti won many awards over the course of her career, including the Ubi Prize for Stage Design in 1980; the Architecture Medal from the Academie d'Architecture, Paris in 1983; the Josef Hoffmann  Prize from the Hochschule fur Angewandte Kunst, Vienna in 1984; France’s Chevalier de la Légion d’Honneur in 1987; the Praemium Imperiale for Architecture in 1991; and the title of “Knight Grand Cross” of the Order of Merit of the Italian Republic in 1995.

Aulenti passed away in 2012 at the age of 85. She remains a significant architectural influence who made incredible strides for women in her profession. 

*Images courtesy of Archivo Gae Aulenti , Artemide , Martinelli Luce , Zanotta

About the Maker

Fontana arte.

Luigi Fontana founded his eponymous plate glass manufacturing company in Milan in 1881. As he achieved increasing success in the construction sector—which attracted new investors, including the multinational Saint-Gobain glass company—Luigi Fontana & Partners opened outlets both nationally and abroad, becoming one of the largest glass manufacturers in Italy.

Between 1930 and 1932, hoping to make inroads in the art glass and décor sector, Fontana hired famed Italian architect-designer Gio Ponti  (1891-1979)—then art director for the ceramics company Richard Ginori—to consult and create new designs for the domestic market, leading to Ponti’s now-iconic 0024 Pendant (1931) and Bilia Table Lamp (1931/32). By 1933, the collaboration gave rise to Fontana Arte, an artistic glass works division of Fontana’s company. The same year, Fontana Arte acquired Italian designer Pietro Chiesa’s  (1892-1948) glass workshop, Bottega di Pietro Chiesa, and Ponti and Chiesa shared the role of art director for the expanded company. Soon they were garnering wide acclaim for a variety of sophisticated glass objects, encompassing stained glass, lighting, decorative mirrors, sculptural pieces, and even furniture made of glass, most of which were characterized by a purity of form remarkable for the time. Early successes included Chiesa’s Fontana Coffee Table (1932), Cartoccio Vase (1932), Luminator Floor Lamp (1933), and 006 Series (1933/37). 

Throughout the 1940s and early 1950s, Fontana Arte developed few new products, relying instead on iterations of Chiesa’s designs from the 1930s. This creative conservatism stemmed from the devastation of the war years and the economic turmoil that immediately followed. A few private commissions from hotels, offices, and museums helped sustain the company until the postwar recovery took hold in Italy.

In 1954, French-born designer Max Ingrand  (1908-1969) took the helm as artistic director and ushered in a new era of fashionableness and acclaim for Fontana Arte. From chandeliers, sconces, and lamps to furniture, mirrors, and decorative objects, the company’s prolific, sometimes bespoke, output during the postwar era earned it a reputation for glamour and au courant style. One piece from the ’50s that remains a bestseller today is Ingrand’s Fontana Table (1954). Notably, many pieces produced by Ingrand in collaboration with Pietro Raimondi (of whom little is published) in the ’50s and ’60s are now popular on the vintage market.

In 1967, two years before Ingrand’s untimely death, Ponti returned to Fontana Arte as art director. Although short lived, his second tenure produced two iconic collections, the Pirellina and Pirellone (1967).

As the ‘60s drew to a close, and throughout most of the 1970s, Fontana Arte lost cachet. In 1972, Saint-Gobain took direct ownership, and production and material quality declined. In 1979, however, Fontana Arte changed hands again to another group of shareholders represented by CEO Carlo Guglielmi. A new, successful phase was established when Guglielmi brought in Italian architect Gae Aulenti as Fontana Arte’s new art director. Standout pieces from this era include Aulenti’s Tavolo con Ruote Table (1980) and Aulenti and Piero Castiglioni’s Parola Table Lamp (1980).

In 1998, Fontana Arte was awarded the ADI Compasso d'Oro in recognition for its significant contribution to the Italian design legacy. Cementing its position at the forefront of technical expertise and design flair, Fontana Art combined with the Nice Group in 2012. Twenty-first-century collaborations with architects and designers include Steven Holl, David Chipperfield, Vico Magistretti , GamFratesi, Karim Rashid , Form Us with Love, and Harry & Camila. Works produced by Fontana Arte can be found in the permanent collections of the Museum of Modern Art  (New York), Vitra Design Museum  (Weil am Rhein), the Triennale di Milano , and more.

*All images courtesy of Fontana Arte

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Round Dining Table in style of Angelo Mangiarotti, Italy, 1970s

Model 180 Dining Table in White Lacquered Rosewood by Carlo De Carli for Sormani, 1960s

Dining Table in Rosewood, 1950s

Square Table, 1950s

Table and Armchairs by Charles Rennie Mackintosh for Cassina, 1970s, Set of 5

Oak Country House Table, 1920s

Large 444 Extending Table and Windsor 493 Dining Chairs by Lucian Ercolani for Ercol, 1960s, Set of 9

Large English Brutalist Dining Table in Ebonised and Bleached Pine, 1970s

Round Dining Table with Smoked Glass Top by Gastone Rinaldi for Thema, 1960s

Vintage Blonde Oak Table

Vintage Extendable Table, 1960s

Vintage Danish Teak Dining Table by Finn Juhl for France & Søn / France & Daverkosen, 1960s

More from this Dealer

Museum Collection Drinking Glasses by Maryana Iskra, 2004, Set of 6

Italian Como Lamp in Porcelain, 1970s

White & Pink Murano Glass Amphora Vase from Franco Valmarana, 1970s

Modern Murano Glass Ceiling Lamp, 1990s

Girasol Bottle Attributed to M.V.M Cappellin, 1920s

Submersible Vase with Triangular Section by Luciano Ferro for A.VE.M., 1960s

Murano Glass 81/300 Aspirato Vase by Carlo Moretti, 2004

Italian Versace Drinking Glasses from Ribes the Art of Glass, 2004, Set of 6

Italian Modern Pendant in Gold & Glass, 2004

Italian Cocktail Glasses in the style of Gio Ponti for Murano Verre, 2004, Set of 7

Chandelier by Paolo Venini for Venini, 1950s

Va Glasses by Nicola Moretti for Maryana Iskra, Set of 2

Red Duplex Ceiling Lamp from Fontana Arte

Vintage Italian Vase in Murano Glass

Champagne Flutes in Murano Glass by Carlo Moretti, Set of 6

Italian Murano Glassware Set, 2004, Set of 6

Massive Pendant Lamp in Opal Glass, 1980s

Sphere Vase by Carlo Moretti, 2002

Italian Murano Glasses by Angelo Ballarin for Ribes Studio, 2004, Set of 6

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Gae Aulenti

She graduated from Milan Polytechnic in 1953 and since 1956 has worked in the city designing for architecture, interiors and industry and theatre scenery. In 1979 she was called as artistic director at FontanaArte, creating timeless lamps and furnishing elements that are still in the company's catalogue. In particular: the Giova lamp (1964), Tavolo con ruote table (1980) and Tour table (1993). Together with Piero Castiglioni, she designed the Parola family of lamps (1980), wall lamps Diamante (1986) and Calle (1988), and the Diastema spot light (1994). Her architectonic projects are many and prestigious and include: refurbishment and a new layout for the Musée d‘Orsay (1980-86) and the Musée National d’Art Moderne at the Centre Pompidou (1982-85); refurbishment of Palazzo Grassi in Venice (1985-86); the new entrance for Santa Maria Novella station in Florence (1990); Palazzo Italia at EXPO ‘92 in Seville; restoration of the Scuderie Papali at the Quirinale in Rome (1999); renovation of Piazzale Cadorna in Milan (2000); the “Museo” and “Dante” stations on underground line 1 and redesign of Piazza Cavour and Piazza Dante in Naples (1999-2002); the new Asian Art Museum in San Francisco (1996-2003); the Catalan Museum of Art in Barcelona (1985-2004); restoration of the Palavela in Turin for the Winter Olympic Games in 2006; the institute of culture in Tokyo (2006); restoration of Palazzo Branciforte in Palermo and transformation into a museum (2011). She received many prizes and awards, including: “Chevalier de la Légion d’Honneur” (Paris), Honorary Member of the American Institute of Architects – Hon. FAIA; Praemium Imperiale for Architecture (Tokyo), “Knight Grand Cross” of the Order of Merit of the Italian Republic (Rome), honorary degree in the Fine Arts from the Rhode Island School of Design (Providence, USA).

Gae Aulenti for FontanaArte

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