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Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4

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  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 1
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 2
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 3
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 4
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 5
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 6
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 7
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 8
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 9
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 10
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 11
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 12
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 13
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 14
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 15
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 16
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 17
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 18
  • Vintage Model Orsay Lounge Chairs by Gae Aulenti for Knoll Inc. / Knoll International, Set of 4 19

About This Piece

Vintage Design

Show description

Set of four chairs, designed by the famous Italian designer Gae Aulenti (1927-2012) and published by the influential American company Knoll, founded in 1938.
This model ''Orsay'', classic and inescapable, is characterized by its structure in curved and welded steel, painted black here.
The rounded back and seat of a comfortable surface, are formed from a single piece of plywood, curved at their junction, and covered with a gray fabric.
Besides the modernity of this suite of chairs, the subtle marriage between righteousness will be appreciated of the legs and curvature of lines. Also, one can easily imagine what contemporary furniture in an office in which we will create an atmosphere that combines the rigor of the work and the friendly exchanges.
Period: 1970
Very good state.
* 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 Knoll Inc. / Knoll International
Design Period 1970 to 1979
Production Period Unknown
Identifying Marks This piece has an attribution mark
Style Mid-Century
Detailed Condition Very Good — This vintage item has no defects, but it may show slight traces of use.
Restoration and Damage Details
Light wear consistent with age and use
Product Code RVK-587590
Materials Steel
Color Black, grey
Width 57 cm 22.4 inch
Depth 55 cm 21.7 inch
Height 83 cm 32.7 inch
Seat Height 17.7 inch
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 France
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

Delivery Options

Front Door Delivery:
(Included in Every Order)
  • A skilled driver will unload the item(s) from the delivery truck and bring it to your building’s doorstep. You will be responsible for further transport beyond that point. We recommend asking a family member or friend for an extra hand; alternatively, you may upgrade to In-Home Delivery (see below).
  • 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

Knoll Inc. / Knoll International

Hans Knoll was born in 1914 in Stuttgart, Germany, into the successful manufacturing family behind Walter Knoll & Co. Early-20th-century Germany was an epicenter of modernist design theory—most notably expressed in the products and practices of the Deutscher Werkbund association of artists, architects, designers, and industrialists, as well as the influential Bauhaus school—which advocated for design rooted in the principles of rationality, functionalism, and mass production. This milieu had a profound influence on Hans and inspired him to produce furniture for the new age. In 1937, after a stint in London, he moved to the United States and brought his modernist vision with him.

Florence Knoll (neé Schust) was born in Saginaw, Michigan in 1917 and from an early age exhibited a strong interest in architecture. After graduating from the Kingswood School for Girls in 1934, she moved across campus to the newly formed, Bauhaus-inspired Cranbrook Academy of Art to study architecture under recent émigré, Finnish architect Eliel Saarinen. There she befriended future design luminaries Charles Eames and Eero Saarinen. She went on to Columbia University’s School of Architecture to study town planning. In 1937, she apprenticed under former-Bauhaus professors Walter Gropius and Marcel Breuer in Cambridge, Massachusetts, and a few years later, enrolled at the Illinois Institute of Technology, where German architect Ludwig Mies van der Rohe became a life-long mentor to her.

In 1938, Hans Knoll established The Hans G. Knoll Furniture Company as a furniture exporter in a small space on East 72nd Street in New York City. As the company quickly grew, it evolved into a manufacturing business. In 1941, he opened his first plant in a former dance hall in East Greenville, Pennsylvania and hired Danish designer Jens Risom, who eventually helped him develop the first, original Knoll furniture designs. That same year, Hans met Florence on an interior design project and, recognizing her exceptional taste and eye, hired her to bring in business with architects and interior designers and, later, to provide in-house planning and interior design expertise for a growing corporate clientele. In 1946, Hans and Florence married and renamed the company Knoll Associates. That same year, the Knolls formally established the Planning Unit, solidifying the company’s role in the design of interior spaces. In 1951, Knoll International was launched as the German and French arms of Knoll, producing Knoll designs for the European market. Sadly, Hans died in a tragic car crash in 1955, but Florence remained actively involved until she retired in 1965.

Knoll’s signature pieces include Breuer’s Wassily Chair (1925), Mies van der Rohe’s Barcelona Chair (1929/1948), Harry Bertoia’s Diamond Chair (1952), Eero Saarinen’s Tulip Armchair (1957), as well as Florence‘s own furniture collection developed through the 1950s. Knoll’s impressive catalogue includes a who’s-who list of midcentury modern and contemporary design figures, including Jens Risom, Alexander Girard, George Nakashima, Isamu Noguchi, Richard Schultz, Warren Platner, Charles Pollock, Andrew Morrison & Bruce Hannah, Vignelli Associates, Richard Sapper, Maya Lin, Frank Gehry, and Rem Koolhaas. As of this writing, Knoll’s most recent collaboration is with David Adjaye, who designed the Washington Collection for Knoll and the Adjaye Collection for KnollTextiles. Today, the company is particularly focused on meeting the evolving needs of the 21st-century workplace.

In 2011, Knoll received the National Design Award for Corporate and Institutional Achievement from the Cooper Hewitt, Smithsonian Design Museum in New York. The award recognized Knoll’s legacy in American modern design and the company’s commitment to promoting the relationship between good design and quality of life. Knoll designs can be found in the permanent design collections of institutions around the world, including more than 30 acquired by New York’s Museum of Modern Art.

 

* All images courtesy Knoll, Inc. The David Adjaye Skeleton Chair was photographed by Joshua McHugh.

$1,704
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