Rating and value of chairs and furniture by Carlo Pagani

If you own a work by or based on the work of artist Carlo Pagani and would like to know its value, our state-approved experts and auctioneers will guide you.

Our specialists will carry out a free appraisal of your work, and provide you with an accurate estimate of its value on the current market.

Then, should you wish to sell your work, we will direct you to the best possible arrangement to obtain the optimum price.

Designer's rating and value

Twentieth-century designer Carlo Pagani created numerous pieces of furniture, in particular several collections of chairs, which earned him worldwide artistic recognition. In line with his reputation, the artist is highly rated on the auction market.

Carlo Pagani is a sure bet on the art market, and a piece bearing his signature can fetch tens of thousands of euros in the auction room. Witness one of his desks drawn for a private commission in Milan, which fetched over €33,000 in London in 2018.

Order of value from the most basic to the most prestigious

Artist's style and technique

Carlo Pagani (1913 - 1999) was an Italian designer who was part of the post-war modernist movement between functional design and sculptural research. His work is representative of the transition from the Italian rationalism of the 1950s to a more expressive approach in the 1960s and 1970s.

His production is mainly focused on furniture and lighting. He creates table lamps, floor lamps and pendant lamps, as well as coffee tables, consoles and functional decorative elements. Best known for his chairs, his pieces are designed for modern interiors, often in limited production.

The shapes are clean, legible, geometric and sometimes softened by curves. Volumes are simple yet expressive, emphasizing structural clarity. There are no superfluous ornaments; priority is given to form and function.

The approach is modernist : function determines form. Technical elements (structure, fastening and light diffusion) are integrated into the overall design. The design does not conceal the construction but makes it intelligible.

The main materials are metal (core material, sometimes polished, sometimes with a patina), glass (opal, diffusing glass) and wood. He combines industrial materials with a meticulous finish.

The manufacture of his furniture is based on mastered industrial processes (cutting, assembly, welding). The proportions and balance of his work are precise. His production is compatible with limited editions, without being strictly artisanal.

He seeks diffused, functional, non-decorative light, with an emphasis on visual comfort. His palette is fairly sober (black, white, metallic tones, sometimes neutral colors). Finishes are matte or satin, with a deliberately timeless aesthetic.

Pagani is influenced by rationalist Italian design (Ponti, Albini, Sottsass, Zanuso, Pistoletto, with a European and international modernist movement. He is also close to the Milanese design research of the 1950s and 1960s. His aesthetic intention is to design durable, legible and functional objects.

He wants to avoid gratuitous decorative effect in favor of formal coherence, and to inscribe the object in everyday use, without breaking with the architectural space. He is a secondary but representative figure of Italian modernist design. Today, he is appreciated for his sobriety, the quality of his materials and the rigor of his composition.

His work is mainly valued in the field of twentieth-century design, notably in specialized sales.

The life of Carlo Pagani  

Carlo Pagani (1913 - 1999) was an Italian designer active mainly between the 1950s and 1970s, a key period in the revival of post-war Italian design. His work took place in the context of European reconstruction and the rise of modern industrial design in Italy.

He evolved in an environment marked by the search for a balance between functionality, aesthetics and controlled production. His training is probably linked to the applied arts, architecture or design, according to the Italian models of the time.

He is part of an intellectual environment influenced by Italian rationalism and debates on standardization, the modern habitat and the social role of design. He belongs to a generation of designers trained in the wake of the great Milanese figures.

He began his career in the 1950s, a period of formal and technical experimentation. He soon turned his attention to furniture and lighting, two rapidly expanding sectors. His early work is characterized by formal sobriety and a rigorous attention to proportion.

He developed a body of work centered on functional objects (lamps, tables, furniture elements), working with industrial materials compatible with mass or small-scale production. His production is in line with a logic of controlled commercial distribution, usually via Italian publishers or manufacturers.

It is in the continuity of Italian modernism, without seeking a radical break with it. He favors clarity of design, structural legibility and durability of form. His work reflects a rejection of gratuitous ornamentation, in favor of a functional aesthetic. His recognition is mainly professional and commercial rather than institutional.

His activity seems to decline from the 1970s onwards, as tastes evolve towards more radical or postmodern forms. Collectors' interest is growing in the secondary but consistent figures of post-war Italian design.

Market segmentation and artist rating

The dominant categories at public sale are seating, which is the most identified segment (documented models, design bibliography, high desirability), desks and large tables, which are a rarer segment but qualified as " statement piece ".

Other furniture (consoles, more occasional coffee tables) is dependent on allocation and condition. The absence of floor lamps on artprice suggests that this segment is not structuring for the artist's rating at auction and should not be used as a main axis of segmentation.

Models named, published and unambiguously attributed (Camelia, Campanula) have a market premium because the object is indexed by literature and by comparable sales. Pieces produced by Arflex are more attractive (identified publisher, canonical Italian design logic).

Large pieces of furniture (desks, large tables) are part of a narrower market, but potentially very valuable if provenance and attribution are solid.

Carlo Pagani's value is structurally driven by Arflex chairs (named, bibliographed models), while furniture (desks/tables) is part of a rarer, more selective market.

Expertise your property

If you happen to own a work by Carlo Pagani or after the artist, don't hesitate to request a free appraisal by filling in our form on our website.

A member of our team of experts and certified auctioneers will contact you promptly to provide you with an estimate of the value of your work, and will ensure that you receive ad hoc information about it.

If you're thinking of selling your work, our specialists will also help you find alternatives to sell it at the best possible price, taking into account the inclinations of the market and its specific features.