ALDO TURA

Aldo Tura, born in 1909 in Italy, carved a unique niche in mid-century design, deviating from mainstream Italian modernism with his lavish use of lacquered goatskin and a focus on highly decorative furniture. His works from the 1950s and 1960s are particularly noted for their luxurious textures and rich colors like chocolate brown and emerald green, which became his signature palette. Tura's pieces often featured brass hardware, adding a touch of opulence that ranged from medieval to baroque styles.

In his early career, after studying architecture at the University of London, Tura was captivated by Greek and Roman art, which influenced his design ethos to blend ancient elegance with contemporary forms. He moved to New York in 1929 and began his career under Charles Duveen before venturing out on his own in 1936. By 1946, Tura established a significant reputation with a furniture line for Widdicomb Furniture Company, celebrated for its innovative design.

Despite his achievements, Tura is less discussed in the annals of mid-century design, perhaps due to his work’s ornate nature and labor-intensive production methods, which positioned him away from the streamlined aesthetics of modernism. His pieces were not just furniture but statements of art, often incorporating elements like figural panels that mirrored classical art forms.

Tura’s commitment to artistry over mass production meant his work remained exclusive, catering to a clientele that appreciated the bespoke and the unique. His designs included everything from small tables and bar carts to substantial case pieces, with prices ranging significantly based on the item's scale and importance.

Although he lacked the typical profile of an architect or interior designer, which might have limited broader recognition, Tura’s legacy has been reassessed over time. His works are now highly sought after by collectors and are featured in prestigious public collections and museums worldwide.

Aldo Tura passed away in 1963, leaving behind a legacy that continues to influence and inspire. Today, his work is championed by design connoisseurs who appreciate his blend of historical richness with mid-century flair, ensuring his creations remain both a collector’s delight and a reference point in the study of decorative arts.

 COLLECTION