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There are tables that hold objects, and there are tables that hold your attention. This cocktail table by Turinese sculptor and designer Filippo Chissotti (1920–1995) belongs firmly to the second category — a piece whose structural logic is as surprising as its silhouette is assured.
Chissotti, known in art circles by the moniker "Chiss," trained under two giants of 20th century Italian sculpture — Marino Marini and Giacomo Manzù — at Turin's Albertina Academy, before a formative period studying architecture. That dual education is written into every inch of this table. The design operates like a solved structural problem: a continuous, freeform walnut rail curves and undulates in an unbroken biomorphic loop, its profile somewhere between a softened diamond and a river-worn stone. Within this frame, a recessed glass panel sits flush, held in place by small chrome standoff hardware — polished points of detail that reveal the precision behind what reads, at first glance, as pure organic freedom.
What stops collectors in their tracks are the legs. Rather than conventional corner placement, the walnut legs emerge in tight pairs from each of the four corners of the frame — eight legs total, each dramatically splayed and tapering to a fine point, with a cream or bone inlay stripe running the full vertical length. The effect is part mid-century Italian furniture, part architectural model, part kinetic sculpture. Seen from above through the glass, the crossed internal bracing forms a bold X, pinned at center with a polished chrome bolt — an interior detail as considered as the exterior form.
The walnut throughout is deep, warm, and beautifully grained; the finish retains its integrity with honest age. This is a genuinely rare object. Chissotti's furniture output was far smaller than his sculpture practice, and pieces of this complexity and resolved vision are exceptional finds.
A note on care: The splayed, paired-leg construction is architecturally intentional but inherently delicate. This piece rewards thoughtful placement away from high-traffic areas and should be treated as the sculptural object it is.
There are tables that hold objects, and there are tables that hold your attention. This cocktail table by Turinese sculptor and designer Filippo Chissotti (1920–1995) belongs firmly to the second category — a piece whose structural logic is as surprising as its silhouette is assured.
Chissotti, known in art circles by the moniker "Chiss," trained under two giants of 20th century Italian sculpture — Marino Marini and Giacomo Manzù — at Turin's Albertina Academy, before a formative period studying architecture. That dual education is written into every inch of this table. The design operates like a solved structural problem: a continuous, freeform walnut rail curves and undulates in an unbroken biomorphic loop, its profile somewhere between a softened diamond and a river-worn stone. Within this frame, a recessed glass panel sits flush, held in place by small chrome standoff hardware — polished points of detail that reveal the precision behind what reads, at first glance, as pure organic freedom.
What stops collectors in their tracks are the legs. Rather than conventional corner placement, the walnut legs emerge in tight pairs from each of the four corners of the frame — eight legs total, each dramatically splayed and tapering to a fine point, with a cream or bone inlay stripe running the full vertical length. The effect is part mid-century Italian furniture, part architectural model, part kinetic sculpture. Seen from above through the glass, the crossed internal bracing forms a bold X, pinned at center with a polished chrome bolt — an interior detail as considered as the exterior form.
The walnut throughout is deep, warm, and beautifully grained; the finish retains its integrity with honest age. This is a genuinely rare object. Chissotti's furniture output was far smaller than his sculpture practice, and pieces of this complexity and resolved vision are exceptional finds.
A note on care: The splayed, paired-leg construction is architecturally intentional but inherently delicate. This piece rewards thoughtful placement away from high-traffic areas and should be treated as the sculptural object it is.
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Wood Care
Keep the furniture in a cool, dry place
Avoid furniture's direct exposure to rain, sun or wind
Avoid placing hot objects directly on the piece to prevent undesirable marks or permanent circles.
Avoid placing objects that may cause scratches to the surface
Clean using water only in small quantities and apply it with soft, damp cloth
After damp cloth wipe with a soft, dry cloth
You can use other liquids that are especially for cleaning wood furniture. Take into account the type of wood and follow the manufacturer's instructions
Upholstery Care
Do not expose directly to sunlight to provide greater durability colors
Exchange both side pads, the seat and backrest, to obtain uniform wear
Shake the cushions regularly to remove dust and to maintain the stability of the form
Clean regularly with a vacuum cleaner in good condition
Use a textile fabric cleaning substance according to and following the manufacturer's instructions
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