Italian Walnut 'Scuderia' Sideboard by Carlo Scarpa for Bernini, 1970s

An Italian walnut 'Scuderia' sideboard by Carlo Scarpa for Bernini, designed in the 1970s. Crafted in richly figured walnut, the elongated case presents a disciplined façade articulated by four vertical doors, each panel celebrating the natural grain in mirrored symmetry. 

The composition is anchored by gently rounded outer edges and a subtly projecting top, lending the piece a softened monumentality characteristic of the 'Scuderia' line. Minimal round pulls punctuate the surface with quiet precision. The doors open to reveal generous interior shelving, offering ample and practical storage concealed within its refined exterior.

At once functional and sculptural, this 1970s Scuderia sideboard stands as a commanding example of Italian modern design, embodying the intellectual clarity and material richness that define Scarpa’s legacy.

Literature: G. Gramigna 1950/1980 Repertorio Mondadori 1985. B. Albertini, S. Bagnoli Carlo Scarpa. L'architettura nel dettaglio Jaca Book 1988. Carlo Scarpa designer Biblioteca dell'immagine 1984.

Carlo Scarpa (1906–1978) was an Italian designer and architect whose work seamlessly blended history, craftsmanship, and Modernist principles. Born in Venice and raised in Vicenza, he trained at the Royal Accademia di Belle Arti di Venezia and worked in the studio of architect Guido Cirilli before beginning a long collaboration with the glass company Venini, eventually serving as its artistic director.

Scarpa’s designs for glass, lamps, and furniture—including the 618 chair for Meritalia and the Samo marble table for Simon—demonstrate his mastery of material, form, and the integration of traditional craft into contemporary design. His approach was deeply influenced by Venetian and Japanese cultures, the surrounding landscape, and his belief in the importance of regional and historical context.

Scarpa’s architectural work, recognized for its innovative restorations and meticulous attention to detail, includes notable projects like his interventions at the Ca’ Foscari University in Venice. Despite never taking the official architectural licensing exam, he collaborated with licensed architects to realize his projects, which spanned Italy and extended internationally to Canada, the United States, Saudi Arabia, France, and Switzerland.

From the mid-1940s until his death, he taught drawing and interior decoration at the Istituto Universitario di Architettura di Venezia, influencing generations of designers. His legacy endures through both his product designs, sought after by museums and collectors, and his distinctive architectural contributions that marry modernity with tradition.