Important artists and designers, such as Aldo Rossi, Emilio Tadini, Bruno Gregori, Hsiao Chin, Robert and Trix Haussmann and Fausta Squatriti created paintings to be reproduced, using the inlay technique, on a sideboard characterized by essential lines. A mosaic created using various types of wood veneers that differ greatly from each other and are patiently matched to reproduce the original painting.

Intarsia Collection revives the local tradition of this ancient technique: a product designed to be reproduced only in numbered specimens, signed, and certified by the author and by the craftsman. The sideboards of the “Intarsia” Collection are design furniture turned into paintings. “Intarsia” represents a direct contact with raw materials which take shape through manual ability and scrupulous dedication, re-invented by imagination and direct experience with wood.

Intarsia is a form of wood inlaying technique documented in Asia Minor from 600 B.C. and developed in Italy at the beginning of the Roman Empire and was referred to as “tarsia certosina”. The inlay technique achieved its maximum splendour during the Renaissance, when it was used for sacred and nobiliary artistic works. During the same period the geometric inlay procedure improved thus creating the art of pictorial and perspective effects in representations that were frequently multi-coloured, enriched by the design of shadows.

1462, that can be considered the year in which the “intarsio” was born, saw the realisation of the choir stall in the Basilica del Santo in Padua by the Lendinari. During years, the art of inlay moved to Piedmont and Lombardy, where one of the last great personalities emerged: that of Giuseppe Maggiolini who, by only using the natural colours of different types of wood, outlines a guideline that is still followed today.