Home / DISCOVERIES > A PAIR OF ATTRIBUTED GUGLIELMO ULRICH WALNUT AND SHEEPSKIN ARMCHAIRS - c1930s

A PAIR OF ATTRIBUTED GUGLIELMO ULRICH WALNUT AND SHEEPSKIN ARMCHAIRS - c1930s

A PAIR OF ATTRIBUTED GUGLIELMO ULRICH WALNUT AND SHEEPSKIN ARMCHAIRS - c1930s

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Milan, c1930s - By architect/designer Guglielmo Ulrich

Superlative and iconic late Deco design and form, these chairs have been completely restored using the finest materials. Most likely originally bespoke commissioned pieces made at Arca, the atelier founded by Ulrich in 1930. These chairs are a complete restoration / rebuild - featuring original copper and waisted conical springs to seat, arms and back. Stuffed using coir fiber, cattle hair and rubberised hair true to the original design. Comfort added using Linterfelt, a very traditional and refined form of ginned cotton. An undercover of calico to finesse the final shape. Covered in finest quality curly 17mm merino sheepskin.

Dimensions: H 95cm x W 85cm x D 95cm - Seat height 35cm

Guglielmo Ulrich: A student of both the prestigious Scuola Speciale di Architettura at the Brera Academy and the Milan Polytechnic, the aristocratic Ulrich was the favored designer of 1930s Milanese high society, receiving commissions for the villas, homes and interiors of the city’s great families, as well as retail stores for prestigious companies including Galtrucco throughout Italy.  He collaborated with Gio Ponti on the design of a hotel for the Venice Lido in 1937 and would serve as co-editor of Domus in 1942 with Melchiorre Bega.

His career in furniture design began in earnest with the foundation of Ar.Ca (Arredamento Casa), the home furniture company he established in 1930 with Renato Wild and Attilio Scaglia. Working closely with celebrated artisans Jannace & Kovacs, Ar.Ca’s meticulously executed designs became synonymous with luxury and modernity during the period. A focus on rare and extraordinary materials characterised the company’s early production, works that were luxurious in both material and form, designed to feed what Ulrich described as his wealthy clients’ desire for strange material…exclusiveness, novelty, the unique piece.

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