Gibraltar Furniture is prod to introduce a brand new vision of the retro future. This classic aviator wing style desk  collection is a wonderful mid-century metal series of avionic desks  The smooth clean aluminum angles, rivet accents and tucked away shelves of our Aviation Desk , Aviation Futura Desk and the Aviation Meteor Desk bring function and form together perfectly.

This collection is a shout out to flight and space design. And these desks would be at home in Buck Rodgers secret office hideaway and in mission control in Houston.

A mid-century iconic style is represented by these aviator replicas. Aluminum sheeting, rivet accents and highlights are all a part of that 20th century love of everything avionic. Bring this classic style to your own home with one of these pieces.

Features include

  • Aluminum Desk
  • Genuine leather handles5





Frank Lloyd Wright (born Frank Lincoln Wright, June 8, 1867 – April 9, 1959) was an American architect, interior designer, writer, and educator, who designed more than 1,000 structures, 532 of which were completed. Wright believed in designing structures that were in harmony with humanity and its environment, a philosophy he called organic architecture.  Wright was a leader of the Prairie School movement of architecture and developed the concept of the Usonian home, his unique vision for urban planning in the United States. His creative period spanned more than 70 years.

His work includes original and innovative examples of many building types, including offices, churches, schools, skyscrapers, hotels, and museums. Wright also designed many of the interior elements of his buildings, such as the furniture and stained glass.  One of the most inspirational, and forgotten chapters in Wright’s history are his iconic architectural designs for planters and vases.


Frederick C. Robie House Chicago, Illinois Frank Lloyd Wright Architect Oak Park, Illinois. This vase, from the Frederick C. Robie house in Chicago, is a classic example of Frank Lloyd Wright’s architectural design, utilizing a circle within a square, and exemplifying the prairie style. Reproduced in three sizes, the full-scale original 60-inch, a 45-inch and a 1/2 scale, 30-inch size.


Henry J. Allen House – Wichita, Kansas Frank Lloyd Wright – Architect Taliesin, Wisconsin. Built in 1917 for the Governor of Kansas, Henry J. Allen, the Allen house features this elegant, simple bowl poised on a square pedestal. Available in three sizes: 27 1/2″ diameter, 41 1/4″ diameter and the full-scale model of the original, 55″ diameter.


Frank Lloyd Wright Studio Oak Park, Illinois Frank Lloyd Wright Architect Oak Park, Illinois. Designed for the entrance to Frank Lloyd Wright’s Studio in Oak Park, Illinois. The medium size, 34 3/4″ vase, is reproduced to match the scale of the originals. One of Mr. Wright’s early planters, these are also available in a larger, 45 inch, or a smaller 24 inch sizes. Originally designed to sit above eye level on a pedestal, these planters feature a design on the underside of the top ring.

Oak Park Residence Oak park, Illinois Frank Lloyd Wright Architecht Oak Park, Illinois. Located in Oak Park, Illinois, next to the Frank Lloyd Wright Studio, Wright’s own residence featured this beautiful bowl with a very detailed base. Cast in three sizes, Small-20″ diameter, Large-37″ diameter and the scale reproduction of the original- 28 1/2″size.


Burton J. Westcott House Springfield, Ohio Frank Lloyd Wright Architect – Oak Park, Illinois. This was the largest planter Frank Lloyd Wright designed. The enormous originals dominate the front of the Westcott house in Springfield, Ohio. This series is done in a 1/2 scale model of the original 34 1/2 inch diameter, as well as a 48 inch and a 20 1/2 inch size.



Susan Lawrence Dana House Springfield, Illinois Frank Lloyd Wright Architect – Oak Park, Illinois. A classic example of Wright’s early prairie style, these planters sit very prominently in front of the Dana-Thomas residence, just a few blocks from the Illinois state capitol building. The original vases are quite large, measuring over 5 1/2 feet in diameter. This collection comes in a 3/4 scale model at 50 1/4″, a 1//2 scale at 33 1/2″ and a 1/3 scale size, 22 3/8″ in diameter.



Isidore Heller House Chicago, Illinois Frank Lloyd Wright Architect Oak Park, Illinois. One of Frank Lloyd Wright’s earliest designs was this deep bowl planter for Isidore Heller of Chicago in 1896. The small, medium and large sizes are 22″, 33″ and 44″ diameters, respectively.


American Systems Built Houses 1915 Milwaukee, Wisconsin Frank Lloyd Wright Architect Taliesin, Wisconsin. Designed as an everyman’s house, the affordable American Systems Built House offered this simple, classic vase as an optional feature in the 24″ size. This design is also available in a 30″ diameter and the new 18″ size.



Authenticated by the Frank Lloyd Wright Foundation, Full Scale Reproductions of the Original Sculptures Cast In Reconstituted Stone. This is a full-scale reproduction of the Midway Gardens Sprite, the result of collaboration between Frank Lloyd Wright and Alfonso Inanelli. Dozens of these sculptures adorned the walls of the massive Midway Gardens complex in Chicago from 1913-1929. The full size Sprite weighs 360 lbs.




Authenticated by the Frank Lloyd Wright Foundation, Cast In Reconstituted Stone. The companion piece to the Nakoma, this 54 inch tall Winnebago tribal elder is teaching his young son to take the bow and arrow to the Sun God. Another extremely detailed piece, the 4 1/2 foot tall statue weighs 380 lbs.


Authenticated by the Frank Lloyd Wright Foundation, Cast In Reconstituted Stone. The 3-foot tall Nakoma is taken from the design of Frank Lloyd Wright’s for a 16-foot tall statue that was to grace the entrance to the Nakoma Country Club in Madison, Wisconsin. Representing a Native American woman carrying two bowls and two small children, it is a very detailed piece. The 36-inch piece weighs 240 lbs.























Gibraltar Furniture offer is proud to introduce the  iconic reproduction classic aluminum 3 seat armchair sofa  for $3995.  This is a true innovation and carries forward the vision of Charles and Ray Eames where no other sofa has dared to go before!

Eames 3 Seat Sofa

Eames 3 Seat Sofa

When Charles and Ray Eames designed the Eames Aluminum Management Chair and Side Chair (1958), they created a revolution in seating that has lost none of its edge. These chairs were originally developed as a special project for a private residence being designed by Eero Saarinen and Alexander Girard. Moving away from the Eameses’ shell forms of the 1940s, the designers combined a newly affordable aluminum frame with a sling seat that subtly conforms to the body’s shape.

The seat-back suspension was a major technical achievement and represented a departure from the concept of the chair as a solid shell. Wonderfully comfortable, strong, yet lightweight, the chairs became the basis for several other Eames designs, including the Soft Pad chairs.

With a grand sense of adventure, Charles and Ray Eames turned their curiosity and boundless enthusiasm into creations that established them as a truly great husband-and-wife design team. Their unique synergy led to a whole new look in furniture. Lean and modern. Playful and functional. Sleek, sophisticated, and beautifully simple. That was and is the “Eames look.”

The Aluminum group is available in management, side, executive, and lounge models. Their classic lines and comfortable suspension keep them in demand for all kinds of places, from contemporary homes to elegant offices to hip start ups.

In the 1950s, the pair of designers would continue their work in architecture and modern furniture design, often (like in the earlier molded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller.

Eames Aluminum Arm Chair

Their offices operated for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, and included a number of remarkable designers, like Don Albinson and Deborah Sussman. Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Chaise (1968), designed for Charles’s friend, film director Billy Wilder, as well as molded plywood leg splints for the US Navy, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys. Comes complete with a dazzling highly polished chrome aluminum frame!

Materials: 100% Imported Italian Leather chair in your choice of Black, White, Red, Brown, Green, Orange,  Purple colors.  Includes four armrests, polished chrome aluminum frame and base.

  • All materials are imported from Italy
  • All padding is fire resistant sponge & available in Britain standard or American standard
  • Fully equipped with Italian Donati mechanism
  • The aluminum base can support as heavy as 1100kgs
  • Beautiful chromed finish makes the chairs more attractive


Gibraltar Furniture is the premier go to source for modern design for pet furniture! We are pleased to introduce you in the Superfine world, a new concept of “pet-living” based on the high quality and reliability of Made in Italy Brand and Design. Superfine Pet Luxury is the exclusive line of designer beds and accessories for our four-legged friends.

Superfine products are not just objects but have the soul of those who believe in beauty and excellence. An attractive and elegant style, extremely unique synthesis of luxury, elegance and modernity. Superfine, unique product with dual personality: both a sophisticated designer furnishing accessory and a five-star house for your puppies.


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Superfine creations are precious, original and functional, result of a meticulous work of the most expert Italian luxury craftsmen that gives an absolutely excellent item, which reflects the high standards of quality and style of the Made in Italy products. The creations are the result of the genius of Paolo De Anna, a creative entrepreneur from Vicenza with 20 years of experience in pet care. Our customers are sophisticated and demanding, in search of innovative and chic items that are in harmony with the furniture and style of their homes.


Gibraltar Furniture is proud to introduce a brand new line of post modern luxury spa baths and tubs to our collection. The Eurospa series spotlights geometric perfection. These fine art sculptural units boast clean lines and features that are unique and visually poetic.


This European designed imported collection of high end spas and soaking tubs provide the ultimate in luxury and design. All of the units come pre-assembled for easy installation.

Each unit is constructed of vacuum treated space age based solid surface materials. This media is more durable and longer lasting than acrylic, and can be cleaned. It is very easy to maintain. Hardware for pop up drain is included. Overflow control built in. Faucets not included.

We have seen these units at other stores for several times our sale prices!

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Gibraltar Furniture is proud to announce that it has unveiled the new 2014 SIDE collection on line at


This revolutionary brand is made in Italy and was established  in 2002. SLIDE benefits from over 20 years of experience in manufacturing plastic resins, acquired through earlier production experiences in the housewares and gardening sectors.  SLIDE was the very first Italian design company to produce illuminated furniture made of polyethylene, with a successful formula soon exported worldwide. Today SLIDE’s activity is complemented by SLIDE EVENTS,a services brand specialized in integrated management of private and corporate events, and by the SLIDE art project.


SLIDE’s production includes seats, tables, lamps, bar counters, pots, shelves and much more. The company’s enormous capacity for both productivity and creativity allows the introduction of one new product (on the average) every month – transversal, heterogeneous and unusual items in which subtle light and bright colors blend in a powerful and distinctive manner, creating a unique and evocative atmosphere.  The company has recently expanded its offer working on two parallel fronts – by introducing a line of lacquered objects (suitable for a high-end, luxury market) and by broadening the range of  production processes (injection and polyurethane foam molding) and materials (now including  polypropylene, HPL and polyurethane).


To develop its projects, SLIDE partners with internationally acclaimed designers such as  Marc Sadler, Karim Rashid, Marcel Wanders, Paola Navone, Alessandro Mendini, Stefano Giovannoni and Marco Acerbis, striving to create quality products and conquer a position
on the medium to top segment of the market. These high-profile partnerships are complemented by a constant investment on talented young designers, very rich in potential although at times little known.

Being made of only one material, SLIDE’s products are fully recyclable. In addition,  it is corporate practice that the output of one production line is used as input for the next one,  thus avoiding any waste of materials. The whole illuminated range of products is also available with rechargeable batteries or a LED lighting system, allowing maximum energy saving.


Gibraltar Furniture has been in business for over 50 years. Yahoo News reports that Gibraltar Furniture has  “The best prices, models, and service of any site on the Internet.  This Beverly Hills 90210 store is nirvana for people who want Bauhaus, art deco, modern, mid century, or designer furniture at wholesale prices.


Google states “This West coast Internet pioneer features retro, modern, and post-modern furnishings at rock bottom prices. Gibraltar offers an exceptional array of wholesale, architectural, modern, high quality items at factory direct discount prices. Gibraltar Furniture is one of the leaders in the world of Internet modern architectural products.”


Yahoo News reports that “Gibraltar Furniture is an Secret Weapon Web Site for blue chip merchandise at warehouse prices Yahoo News.:


Gibraltar Furniture is proud to announce that it has added Driade to our collection of world class international furniture brands.

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Driade was born in ’68, some decades ago, in the same period as the trends that would have characterized the twentieth century: both the rigor of geometric and rational design and , on the other hand, the recovery of pop art and its influence on pop and radical design.


Today, the “design landscape” is quite different, permeated as it is by the globalization and all- embracing digitization.To understand Driade, you should visit its headquarters in Fossadello, near Piacenza.
In this sense, the headquarters is a perfect “aesthetic laboratory” for it expresses the idea of an overall image where everything contributes to create a work of art; a Wagnerian gesamtkunstwerk, where you can find pieces of architecture, furniture, objects, fabrics and carpets and where designers, photographers, graphic designers, web designers, and workers can meet together. There’s something that reminds us of the Grand Duke Ernest Louis of Hesse who called, in 1899, the architect of the Viennese Secession Joseph Maria Olbrich to design the “Colony of artists”, Mathildenhöhe, in Darmstadt: made of buildings by Olbrich himself and, among the others, by the young Peter Behrens. It was right Behrens to give the most acute definition of Darmstadt: “celebration of life and art.”


It was meant to welcome artists, architects and designers in a place, symbol of aesthetic research, aiming at the popularization of applied arts in Germany, through the design and production of furniture and objects meant for retail.
The epoch of Mathildenhöhe was the early twentieth century, now we are in the XXI century: the age of the avant-garde, of rationalism vs. expressionism, of geometry vs. dreamy figures, has gone. The conflicts that characterized the design of the last century, if not yet disappeared, are certainly vanishing and have acquired a different sense.

This phase is marked by the multiplicity of languages that make it difficult to identify trends or relationships. A variety of authors, not always easily assessable and not all entirely acceptable, is building this century, which is characterized, in art and design, by pluralism, multiplicity of signs, and “idiolects” – as Roland Barthes called the use of language specific of a single author. The “Aesthetic laboratory” of Driade is fully relevant in this new and pluralist twenty-first century, while continuing to pursue its dream of “celebration of life and art”. Vanni Pasca

Driade is a complex project about refined aesthetics of living. In its multifaceted and eloquent catalog, Antonia Astori’s containment systems dialogue with Aleph collection furnishing: while the former organize space and constitute its skeleton, the latter isa multilingual laboratory of contemporary design.
Over the years, the catalog has displayed and promoted a rich variety of researches, poetries and international trends, portraying Driade as a constantly changing, one-of-a-kind aesthetic experiment. Today, we can clearly see what has implicitly made the difference right from the tokyo-pop-1outset: a predisposition to listening a sort of alertness and close attention to the signs coming from overseas, in order to develop those which can be translated into familiar pieces of furniture.

The modular systems, in their abstract dimension of organizing grids, have always been a kind2727

of architecture capable of absorbing and redistributing the impact of different languages. Today they have become more precious, often assuming the form of rigorous furnishing. They still guide though the flow of languages that shakes the customs of traditional living.

This permeability to differences makes the Driade project a highly up-to-date proposition, open to the future. It rejects the leveling of globalization, but senses the vitality and freshness arising from a multiplication of places where ideas are developed and products are produced.

Driade multiplies local voices, crosses borders and opens up to different influences coming from various levels of culture. The guarantee lies in high quality standards, starting from the designers’ proposals right through to production and communication.Paradoxically, the more Driade grows and evolves,accommodating diverse articulations in its catalog, the simpler it becomes clarifying and laying bare the internal paths that make it possible to create organic and coherent areas of taste. Driade’s many personalitiesare organized around a system, and each of them lives its own autonomous and complete life, which can be either orderly or unconventional, neobourgeois or revolutionarily aristocratic depending on the sensitivity and taste of whoever is choosing. Each person finds his or her own individual Driade. The extent of the tonal range, the variety of accents, and the potential to introduce dissonances that accentuate the harmony of the whole: these are the elements that differentiate Driade in the apparently elementary microcosm of living.

More than just a “brand”, Driade is thought of as a “global brand”, where the aesthetic and promotional richness is due to the character of its authors more than to the logic of a traditional business strategy. From the beginning, thus, the press communication was assigned a strategic and “evocative” role, basically on two levels: the divulgation and the promotion. Both of this functions give rise to a “metalanguage” where the “words” of individual artists are organized within a flow of communications, including publishing initiatives, slogans, events, etc. : in this way, the product’s explanation it’s told both by the story of an atmosphere and the allusion to a space where individual objects are witnesses and guarantors.
In this case too, you have to look behind effects to find people: Adelaide Astori, who interpreted emphatically the concept of production as collection with her unitary and continuous press direction, imagined a “second life” where objects and fDriadeInOutfurnishings were more real than in reality.
As Italo Lupi wrote, Adelaide Astori has been able to “imagine the photo shoot as a true product of the dramatic technique”: the “houses” of Driade arise, in fact, from the most “precious” room in the factory of Fossadello, the white room, where things are arranged as an idealized vision, that becomes tangible and concrete though the photographed image.
Communication, therefore, is not only the natural vehicle for the transmission of data: its “virtual” nature acquire, in fact, a structural value which is one with the eclecticism of the catalog : it’s a catalog itself, or rather a container where the artists’ idiosyncrasies and the producers’ individuality are combined into a single image. Virtual and real at the same time.
Fulvio Irace.

“Beauty factory”, “agency-enterprise”, “creative laboratory” … Many definitions have tried, over time, to define the atypical image of Driade in the landscape of international design. Each of them depict a part of reality, but none describes it all. Behind every company, there are indeed individuals, charisma, intuition and dedication of a unique character that finds, in the outline of work, the most suitable soil for the completion of its personality.

How could you possibly think about “Wiener Werkstätten” without Joseph Hoffmann, Omega Workshops without the extravagant members of the exclusive Bloomsbury group, Memphis without Ettore Sottsass or Alchymia without Alessandro Mendini? Similarly, in 1968, Driade would have never been born if a young graduate in architecture hadn’t decided to turn his back to the family business – a solid enterprise of concrete prefabricated – to give shape to a dream very close to an obsession. Producing furniture and furnishings not as “types” – that is, elements of an infinite assembly line- but as individual art objects; to become, therefore, not an entrepreneur, but an art collector. The obsession becomes production, but its rules are not those of the market, but those of many individual choices. Enrico Astori has repeatedly stated that he would have never been able to produce things that wouldn’t have liked to give friends or keep at home: it may seem incredible (or naive) to trade analysts but, this is how Driade was developed as a factory of art. It is so that its greedy, irreducible diversity of creative enterprise, focusing on the language of authors, artists and designers, was developed and spread.
The strategy of the collector becomes the company’s strategy: the brand is focused on the essence of experimentation and dissemination. Driade collections, in almost half a century, have become something like a logical labyrinth, where everything finds its natural place and talks to us of an endless time when collections, themselves, perpetuate as a family legacy. That’s why Elisa Astori has become, since a while, the mistress of a house that needs to be always updated and enriched of the idiosyncrasies and ambitions of the heirs, to remain vital and constantly open to the world.

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