Armchair or circular seat

This armchair has a circular vellum seat and a backrest set
between two asymmetrical vertical elements from which fringes hang. It has an evocative power that refers to a
generic exoticism. The terminal parts of the stiles, conspicuously
disharmonious in their asymmetry, reinforce its unique appearance and render it
perfectly in keeping with the taste of the new, refined, but not conservative
aristocracy, who were the main recipients of Bugatti’s work. His production, in fact, stood out for its
use of extravagant, exotic-Moorish stylemes, for his liking for indecipherable
quotations, for his creative freedom which, although belonging to Art Nouveau, did
not end there. His
creations were in absolute contrast with Modernist mass production and were
always made using fine materials crafted with high quality artisan techniques. The combination of different techniques,
associated with the use of exotic materials, was the distinctive trait of his
style. Vellum,
applications of copper, inlays of ebony, metal and ivory, inserts of leather
and silk, found in Bugatti’s creative expression a harmonious fusion and a
rigorous balance.

The experimentalism of Carlo Bugatti: The
fruitful artistic period inaugurated by the genius of Carlo Bugatti marked Italy’s
transition from late nineteenth-century decoration to modern twentieth-century
design. Throughout the 19th century decoration had been relegated to a secondary
role, but in the 20th century it acquired more autonomy and freedom to express
itself, as would be seen in the design of everyday objects, with the
development of contemporary Design.