Cini Boeri Hand Blown Murano Glass Blue Table Lamp

Best known for its elegant and innovative vintage lighting fixtures, the Milan-based firm Fontana Arte pioneered one of the key features of 20th-century and contemporary Italian design: the union of artistry and industry wrought by partnerships between creative talents — chiefly architects — and entrepreneurial businesses. Fontana Arte is further distinguished by having had as artistic director, in succession, four of Italy’s most inventive modernist designers: Gio Ponti, Pietro Chiesa, French transplant Max Ingrand and Gae Aulenti.

The bread and butter of the glassmaking company that Luigi Fontana founded in 1881 was plate-glass panels for the construction industry. In 1930, Fontana met Ponti — then the artistic director of the Richard Ginori ceramics workshop and the editor of the influential magazine Domus — at a biannual design exhibition that became the precursor to today’s Milan Design Triennale, and the two hatched an idea for a furniture and housewares firm. Fontana Arte was incorporated in 1932 with Ponti as its chief of design. He contributed several lamps that remain among the company’s signature works, including the orb-atop-cone Bilia table lamp and the 0024 pendant — a stratified hanging sphere.

The following year, Fontana Arte partnered with the influential Milan studio glassmaker and retailer Pietro Chiesa, who took over as artistic director. Chiesa’s designs for lighting — as well as for tables and items including vases and ashtrays — express an appreciation for fluidity and simplicity of line, as seen in works such as his flute-shaped Luminator floor lamp and the 1932 Fontana table — an arched sheet of glass that is held in the permanent collection of the Museum of Modern Art.

Six years after Chiesa’s 1948 death, the École des Beaux Arts–trained Max Ingrand took over as head of design at Fontana Arte. Ingrand brought a similarly expressive formal sensibility to wares such as lamps and mirrors, but he also had a masterful eye for the manipulation of glass surfaces — whether they be cut, frosted, acid-etched or sand-blasted. His classic design is the Fontana table lamp of 1954, which has a truncated cone shade and curved body, both of which are made of pure, chic white-frosted glass.

Following Ingrand, the often-audacious Italian architect Gae Aulenti served as the company’s artistic director from 1979 to 1996, and while she generally insisted that furnishings take second place aesthetically to architecture, she made an exception for Fontana Arte pieces such as the Tavolo con Ruote series of glass coffee and dining tables on wheels, bold lighting pieces such as the Parola series and the Giova, a combination flower vase and table lamp. As a key incubator of modern design under Aulenti’s tenure, Fontana Arte remained true to its long-held commitment — creating objects that have never been less than daring.

Find vintage Fontana Arte lighting fixtures such as pendants, table lamps and more on 1stDibs.

Had Cini Boeri been a man, the Milanese architect and furniture designer, who died in 2020 at age 96, might be regarded today on par with such visionaries of the mid-20th century as Gio Ponti or Marco Zanuso. She worked with both. Although she’s well known and deeply respected in Italy, her renown elsewhere has been more akin to a cult following.

“I admire the work she did across architecture, interiors and furniture,” designer Faye Toogood says of Boeri’s impact. “She practiced architecture during a time when it was considered that women were too fragile to work outside.”

Boeri was one of very few women of her era to graduate from Milan Polytechnic with an architecture degree, which she did in 1951. Her illustrious career hinged on the strict economy of her designs and limited palette of materials. For example, her innovative 1971 Serpentone sofa for Arflex was crafted from just one material, polyurethane foam, and sold by the meter. Her ingenious 1987 Ghost chair for Fiam was cut from a single sheet of thick glass.

But in Boeri’s earlier days, her pieces displayed a more youthful exuberance. The circa 1968 Cubotto cabinet, produced in small numbers by Arflex, is an elegantly irregular arrangement of eight drawers of varying dimensions. The wooden cube, two feet square, was finished in laminate — in vivid orange, blue, sand or white — with color-coordinated casters and handles of black-enameled brass. Its design reflects a Space Age interest in flexible, space-saving, multiuse furnishings.

“It’s a very clean piece of design,” says Kaisha Davierwalla, owner and founder of Vaspaar Italy. “Even with its strong, square lines, somehow the vibrant colors and asymmetry have the feel of a feminine touch.”

Find vintage Cini Boeri seating, lighting and tables on 1stDibs.