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Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968

  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 1
  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 2
  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 3
  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 4
  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 5
  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 6
  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 7
  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 8
  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 9
  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 10
  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 11
  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 12
  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 13
  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 14
  • Arcata Walnut & Burgundy Leather Loveseat by Gae Aulenti for Poltronova, 1968 15

About This Piece

Vintage Design

Show description

* Please note that items made of Rosewood are subject to a special export process that may extend the delivery time an additional 2 to 4 weeks
Creator Gae Aulenti
Manufacturer Poltronova
Design Period 1960 to 1969
Year 1968
Production Period 1960 to 1969
Country of Manufacture Italy
Identifying Marks This piece has been attributed based on archival documentation, such as vintage catalogs, designer records, or other literature sources
Style Mid-Century
Detailed Condition Good — This vintage item remains fully functional, but it shows sign of age through scuffs, dings, faded finishes, minimal upholstery defects, or visible repairs.
Restoration and Damage Details
Light wear consistent with age and use
Product Code GW-775308
Materials Leather, Walnut
Color Maroon
Width 123 cm 48.4 inch
Depth 75 cm 29.5 inch
Height 94 cm 37.0 inch
Seat Height 17.7 inch
Weight Range Standard — Between 40kg and 80kg
Duties Notice Import duty is not included in the prices you see online. You may have to pay import duties upon receipt of your order.

Shipping & Delivery

Ships from Belgium
Duties Notice Import duty is not included in the prices you see online. You may have to pay import duties upon receipt of your order.
Returns Returns accepted within 14 days of delivery, except for Made-to-order items

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  • The delivery partner will email and/or call you at least one day in advance to arrange a delivery time.
  • A wooden crate may be used for intercontinental shipments for maximum protection.
  • Item will be left in its packaging after delivery.
  • A signature will be required upon delivery.
In-Home Delivery:
(For in-home delivery service, additional fees apply. Please get in touch)
  • A skilled driver or a team of two will bring your item(s) inside your home and place it in the immediate entryway. For unusually large or heavy items, we recommend asking a family member or friend for an extra hand, as we cannot send more than 2 drivers.
  • The delivery partner will email and/or call you one day in advance to arrange a delivery time.
  • A wooden crate may be used for intercontinental shipments for maximum protection.
  • Item will be left in its packaging after delivery.
  • A signature will be required upon delivery.

*Important Note

Please examine every order upon delivery. In the event that there are visible signs of damage or missing or incorrect pieces, please indicate the problem on the Delivery Note and contact us within 48 hours of delivery. A signed delivery receipt without notations of missing, damaged, or incorrect item(s) represents your acceptance of the complete order in perfect condition.

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 20th 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

Poltronova

Italian furniture manufacturing company Poltronova was founded just north of Florence by Sergio Cammilli in 1957. Cammili had a background in art, and many believe it was the founder’s remarkable openness to bold creative expression that led the company to become one of the most daring in 20th-century Italian design.

Soon after launching, Cammilli was introduced to young designer Ettore Sottsass, who was at the time designing ceramics for Bitossi, also located in the region around Florence. By 1958, Sottsass was hired to be Poltronova’s artistic director.

In the early years, Poltronova concentrated on producing stylish, modernist furniture, often made in wood and sharing many features in common with midcentury designs from Scandinavia. Both Cammilli and Sottsass, however, had ambitions to do something more experimental.

In 1966, Cammilli and Sottsass visited the Superarchitettura exhibition, presented at Galleria Jolly 2 in Pistoia. This era-defining project was organized by Superstudio and Archizoom—two counterculture student groups from the University of Florence’s Faculty of Architect; it’s now seen to be a landmark moment in the development of Radical Design movement. Cammilli and Sottsass immediately changed the direction of the Poltronova, began working with young, iconoclastic designers, and helped to usher in the postmodern era in design.

Notably, Archizoom designed the company’s new factory in the 1960s and programed events at the headquarters, which included a poetry reading and meditation workshop led by poet Allen Ginsberg.

Poltronova produced a number of iconic designs, such as Mario Cerruli’s Mobili Nella Valle Series (1966); Archizoom’s Superonda Sofa (1967) and Mies Lounge  (1969); Superstudio’s Guerpe Lamp (1967); Ettore Sottsass’s Ultrafragola (1970); and De Pas D’Urbino & Lomazzi’s Joe Chair (1970), to name a few. Other major designers who have designed for Poltronova include Gae Aulenti, Angelo Mangiarotti, Giovanni Michelucci, Paolo Portoghesi, and Massimo Vignelli. Many Poltronova works were included in MoMA’s landmark 1972 exhibition Italy: The New Domestic Landscape.

After Cammilli and Sottsass left Poltronova in the 1970s, the company’s management changed hands a number of times, and the focus switched to producing more commercial collections. By the mid-1980s, Poltronova was struggling to survive. Thankfully Roberta Meloni, trained architect, stepped in to advocate for the preservation of the Poltronova archive. She acquired a managing interest in the 1990s, and in the new millennium she was named CEO. Today Poltronova’s legacy has been secured through Meloni’s company Centro Studi Poltronova, a multifaceted organization that manages archives, promotes study and public exhibitions, and produces iconic Poltronova designs on a made-to-order basis.

You can find our interview with Ms. Meloni here.

 * All images courtesy of Centro Studi Poltronova

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