The Model 4638 ashtray by Anna Castelli Ferrieri for Kartell, 1979 — a collectible piece from one of the most important figures in Italian design history.
Anna Castelli Ferrieri co-founded Kartell with her husband Giulio Castelli and became one of the most significant designers of the 20th century, the first woman to graduate from Milan's Polytechnic Institute in 1943, a Compasso d'Oro winner, and the creative force behind some of Kartell's most enduring objects. Her work for Kartell is actively collected, widely exhibited, and increasingly valuable.
The Model 4638 is characteristic of her best work: a simple, resolved form that uses plastic not as a cheap substitute for other materials but as the right material in its own right. The white colorway is the purest expression of that thinking, clean, precise, and completely timeless. It doesn't look like the 1970s. It looks like it was designed yesterday.
This is not a decorative object pretending to be useful, or a useful object pretending to be decorative. It is both, with equal commitment. On a desk, a sideboard, a coffee table, or a shelf it works as a functional piece, a sculptural accent, or a design collectible, depending entirely on how you want to use it.
The Model 4638 ashtray by Anna Castelli Ferrieri for Kartell, 1979 — a collectible piece from one of the most important figures in Italian design history.
Anna Castelli Ferrieri co-founded Kartell with her husband Giulio Castelli and became one of the most significant designers of the 20th century, the first woman to graduate from Milan's Polytechnic Institute in 1943, a Compasso d'Oro winner, and the creative force behind some of Kartell's most enduring objects. Her work for Kartell is actively collected, widely exhibited, and increasingly valuable.
The Model 4638 is characteristic of her best work: a simple, resolved form that uses plastic not as a cheap substitute for other materials but as the right material in its own right. The white colorway is the purest expression of that thinking, clean, precise, and completely timeless. It doesn't look like the 1970s. It looks like it was designed yesterday.
This is not a decorative object pretending to be useful, or a useful object pretending to be decorative. It is both, with equal commitment. On a desk, a sideboard, a coffee table, or a shelf it works as a functional piece, a sculptural accent, or a design collectible, depending entirely on how you want to use it.
A large round lounge chair in the Satellite form that Milo Baughman designed for Thayer Coggin. The circular back wraps around a deep, round button-tufted seat cushion, and the chair rolls on brass casters.
It’s roomy enough to curl up in, or to share. It has been reupholstered in dark green velvet that reads nearly black in low light and shows its green in daylight.