In Greek mythology, Thea was one of the Titanides goddesses. She was the goddess of light and was associated with the radiant shine of metals and jewels. It is in her honour that we created our THEA collection, following the same quest towards perfection that Greek sculptures inspired in Renaissance artists. Our THEA collection offers made-to-measure handcrafted furniture. Our aim is to continuously strive towards self-improvement with each item we make. We believe in a future where quality matters, where the satisfaction we feel in designing and producing our items will be the same satisfaction felt by our customer when choosing our products.
Our furniture is made with high quality materials, linked to the Tuscan tradition, and combines the craftsmanship handed down for centuries of carpentry with contemporary design forms, of Italian language.
Furnishing accessories comes from attention to detail. The passion for materials and our continuous research for craftsmanship gives us the joy of creating objects with a strong personality suitable for everyday use.
“Objects must keep company.”
You can’t love Italian craftsmanship without a passion for fashion. Each accessory is handmade by our Tuscan artisans and can vary in processing as well as in its natural material.
“Fashion is not done with a pencil but with work and craftsmanship, with cutting and sewing”.
– Micol Fontana –
The production of objects created by Thea makes use of the collaboration of a large network of Tuscan artisan workshops, each with expert masters in specific processes. The variety of artisanal production in the area and the quality handed down for centuries in the artisan workshops are sources of inspiration for us and allow us to offer a broad service.
Our goal is to improve ourselves with every object we make. We believe in a future in which quality has a tangible and significant value also for customers who, by investing in local labor while respecting history and production, will contribute to preserving knowledge and values.
“Manufacturing in a foundry today is the same as 1000 years ago. The only change that has taken place in the last few years is that the raw brass alloy we use is made nickel free through the use of advanced technologies in order to be more environmentally friendly. This makes the alloy slightly less fluid and a little harder to cast.”
– Pasquale –
“In my craft, I have always tried to follow and evolve my projects’ aesthetical and functional requirements compatibly with their style, to give an architectural coherency up to the smallest detail and finding new, technically-correct solutions to create a technical/cultural object which results both harmonious and solutional.”
– Stefano –
“The finish of the metals varies from bronze, to pompean green, to satin, polished, chromed, to gold leaf with the bole underneath, to colored in several layers and discarded to give them flames. I have learned the art of this craft since I started working at 15. Few of us are left in the bronzing process to follow the old method handed down to me by my father of using the liver of sulfur made by us in the shop using a solution of potassium sulfide by immersing the brass object in a bath. In addition to many metal finishes in Tuscan churches, I have finished the works of sculptors such as Jorio Vivarelli, Fernando Botero, Adriano Veldorale and created unique and catalog furniture for companies such as Mantellassi and Estro as well as many stainless steel finishes for yachts.”
– Patrizio –
“The skill of the varnisher is in his ability to recognize the shade each specific slab of wood will become once it has been varnished. Each tree is different; only by adapting the blend of colours are we able to make that specific colour in the wood shine through.”
– Sani –
“Our craft creating straw hats has been passed down to us through three generations. There was a time when we made hats for the British Royal Family. Our Florentine hat in particular was famous worldwide. It was a simple straw hat with a narrow velvet ribbon embellished with marvellous colourful straw flowers.”
– Annalisa –
“In our line of work, perfection is necessary. We pay the same attention to detail as the goldsmiths of Ponte Vecchio. We combine the crafting of metals with computerized numerical control machines to the manual crafting of each single meticulously chosen piece of bamboo.”
– Marco –
“The passion, the accuracy, sometimes even the great sacrifices and, in time, the experience that I put into my trade have allowed me to always be in direct contact with my clients. This has given me the satisfaction of being able to work in my leather workshop with total independence.”
– Giordana –
“La tradizione del cotto di Impruneta risale al Medioevo. Accanto alla nostra fornace si trova la cava dell’argilla. Dalla estrazione alla seccatura alla lavorazione dell’argilla alla cottura, tutti i passaggi vengono effettuati qui da noi.”
– Andrea –
“La maiolica di Montelupo nel periodo fino al 1400 era una maiolica arcaica e dei boccali decorati verde e bruno dalla bellezza semplice rustica, quando la crescita impetuosa di Firenze e della propria potenza mercantile, favorirono l’affinamento dei gusti, l’ingigantirsi delle commesse, il perfezionamento delle tecnologie. Comparvero allora i primi generi di lusso, come la zaffera a rilievo; si recuperano le tradizioni arabe, imitando e reinterpretando le prestigiose produzioni smaltate di provenienti dalla costa spagnola; si seguirono i colori e decori dei nuovi dettami rinascimentali, fino alle serie che rappresentano l’età d’oro di Montelupo: i fiori gotici, l’occhio della penna di pavone, la palmetta persiana. Oggi oltre a riprodurre le vecchie forme e disegni abbiamo una piccola produzione di Vasi di forme nuove con colori e superfici sempre più speciali.”
– Enrico –
“For me, the most beautiful moment in the creation of an object, is when after having consulted a master artisan I take their experience in crafting a specific material and their knowledge of local traditional manufacturing methods and I transform the project idea into a design.”
– Lotte –
“The work of art is particular, local and individual and at the same time it is a universal testimony.”
– Ernesto Nathan Rogers –
“The phenomenon of universalization, while being an advancement of mankind, at the same time constitutes a sort of subtle destruction, not only of traditional cultures, which might not be an irreparable wrong, but also of what I shall call for the time being the creative nucleus of great cultures, that nucleus on the ethical and mythical nucleus of mankind. The conflict springs up from there.”
– Paul Ricoeur –
“Genius Loci, like all divinities worth worshipping, is of the same substance of our hearts and minds; it is a spiritual entity. And in regards to its visible incarnation, it is the place or village itself; and the features and language that characterize it are the configuration of the terrain, the sloping of the roads, the sound of the church bells and of the canal locks.”
– Vernon Lee –
“Each thing depends just as much on how exactly it was created as on the open manifestation of its form.”
– Kenneth Frampton –
“The artisan is the representation of a specific human condition: investing personal effort in that which one does.”
– Richard Sennett –
“In even the most perfect reproduction, one thing is lacking: the here and now of the work of art – its unique existence in a particular place. It is this unique existence – and nothing else – that bears the mark of the history to which the work has been subject… The here and now of the original underlies the concept of its authenticity.”
– Walter Benjamin –
“The smaller the circle which forms our environment and the more limited the relations that go beyond its boundaries, the more anxiously this circle watches the individual’s performance, his conduct and his beliefs so as to ensure that nothing too peculiar – quantitively and qualitatively – threaten the overall picture.”
– Georg Simmel –
“I think that people living in what we previously thought to be remote places, now have access to a discourse which is global and rather sophisticated, and that enables, in that particular place, to create works that are specific to that place but informed by a larger world picture.”
– Kenneth Frampton –
“Life needs form and, as a form, it no longer needs form. This contradiction is intrinsic to life, of being able to come out only in forms and yet not being able to remain within these forms, but being able to go beyond and break every form it has produced.”
– Georg Simmel –