Fumoir | Sofa

Renzo Frau

Toda la gama Fumoir está dotada de ruedas delanteras de latón y se caracteriza por las costuras romboidales del respaldo y por los botones revestidos de piel. Una fila de remaches revestidos de piel remata los flancos del sillón y del sofá. La estructura portante es de haya curada. El mullido del asiento se obtiene mediante muelles bicónicos de acero unidos a mano y apoyados sobre cinchas de yute. El acolchado está realizado con crin recubierta de goma. El tapizado es de Pelle Frau® o de tela.

Fumoir | Sofa

Renzo Frau
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Tapicería

Concepto y diseño

Pieza histórica de la colección Poltrona Frau, Fumoir vuelve a proponer el elegante sillón de sala de estar introducido en el catálogo en los años 20 con los modelos 118 y 518. Renzo Frau se inspiró en la butaca envolvente del siglo XVIII con respaldo bajo, particularmente adecuada a la postura erecta que se asume en torno a una mesa o en una sala de espera. El sofá y el sillón Fumoir se caracterizan por la ausencia de cojín superpuesto al asiento y por un marcado redimensionamiento volumétrico que los hace, hoy como ayer, ágiles y transversales en cuestión de uso.

Diseñado por
Renzo Frau

Lorenzo Frau, known as ‘Renzo’, was born in Cagliari in 1881. He left Sardinia for military service in Milan, which he completed successfully earning the title of lieutenant. He married Savina Pisati and moved to Turin, at the time a real hub of Italian culture. He initially worked as a sales representative for Gribaudi and then for Dermoide Patent, manufacturer of faux leather. Having moved to Great Britain for work, he was able to discover the Chesterfield model armchairs and immediately imagined its potential, successfully starting to import it into Italy. At the same time, however, he was also attracted by the models of French and Central European style. He therefore decided to create his own artisan production laboratory. It was 1912: Poltrona Frau was created. From the initial work ‘in style’, Frau quickly moved onto direct design. Poltrona Frau became not only a production pole, but also a meeting point for artists and intellectuals. Renzo Frau used these relations to consolidate the brand image: successful models ensued quickly, one after the other. As the First World War broke out, Frau was called to fight for his country and his wife Savina bravely took up the reins of the company. Frau’s armchairs thus began entering the most important buildings, also used by the royal family. Renzo Frau met an early death in 1926. He left an extensive archive of projects that would allow his wife to coherently pursue Poltrona Frau production in the years to come.

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