Angeli, Olivieri, De Carli Artwork valuations, appraisals and auction estimates

Follower and friend of Gio Ponti, who in 1962 he succeeded in the chair of Interior Architecture, Furnishing and Decoration at the Milan Polytechnic, Carlo De Carli (Milan, 1910 – 1999) was, as well as a designer, promoter of Italian furniture, including committed to increasing relationships between designers, artisans, industrialists, architects, teachers and companies, in particular the furniture makers of Brianza. Since his debut in the 1930s, De Carli has aimed to reconcile functionality and forms in his furnishings that go beyond rationalist rigidity, working on the dynamism of geometric elements that create a very recognizable plastic tension in his furnishings. Read the full biography

Follower and friend of Gio Ponti, who in 1962 he succeeded in the chair of Interior Architecture, Furnishing and Decoration at the Milan Polytechnic, Carlo De Carli (Milan, 1910 – 1999) was, as well as a designer, promoter of Italian furniture, including committed to increasing relationships between designers, artisans, industrialists, architects, teachers and companies, in particular the furniture makers of Brianza. Since his debut in the 1930s, De Carli has aimed to reconcile functionality and forms in his furnishings that go beyond rationalist rigidity, working on the dynamism of geometric elements that create a very recognizable plastic tension in his furnishings. After the Second World War (during which he was taken prisoner by the Germans), his most fertile production period began, mainly based on chairs and tables which in the 1950s were produced by Cassina (such as the "683" chair, winner of the first Compasso d'Oro in 1954), Tecno, Sormani, Longhi and Cinova, bringing Italian design to ever greater success on the international scene. De Carli often collaborates with Renato G. Angeli and Luigi C. Olivieri, as in the case of the 'Modern Office Exhibition' (VII Milan Triennale, 1940). Here the three architects showed a "central plan" desk for the director of an advertising agency and his secretary, made of Slavonian oak and tempered glass. It was a sort of 'island' in the center of the space, designed to involve two people in a close, face-to-face dialogue. For Angeli, De Carli and Olivieri the desk, 'instead of being the usual table for papers and the inkwell, becomes the nerve center of the office, in direct relationship with everything that is study or work material of those who are there seated' (Angeli, De Carli & Olivieri, 1940, p. 60).