Italian Sofas

Pair of B&B Sofas Newly Upholstered in Iridescent Acid Green and Green Velvet, mirrored checkerboard effect. Can be sold individually.

Anfibio sofa-bed by Alessandro Becchi for Giovannetti, 1972. Fully restored and upholstered with high-quality black Italian natural leather. Mattress upholstered with soft sheepski...

3 seater sofa, day bed Anfibio designed by Alessandro Becchi and produced by Giovannnetti in 1970s. Designed in 1970, the Anfibio sofa bed has been described by critics around the wo...

This stunning sofa was manufactured in Italy by Natuzzi, a small workshop founded in 1959 in Puglia, which grown to become a worldwide manufactory. This in-line model was designed by...

The "Maralunga" set, designed by Vico Magistretti for Cassina, is a classic and iconic collection in the world of Italian furniture. Introduced in the 1970s, the Maralunga sofa is pa...

Confidential Seating Set by Alberto Rosselli for Saporiti, Beige Boucle Fabric, Italy, 1970s - New Upholstery

Mario Bellini "Camaleonda" modular sofa for B&B Italia, black leather, Italy, 1970, four elements. "Camaleonda" is an icon, rediscovered. First designed in 1970 by Mario Bellini, i...

An icon of postmodern design: a pair of Nicoletti Salotti 2-seater sofas in gray leather, produced in Italy around 1980. The leather of the sofas has taken on a lived-in look that gi...

Large lounge sofa in cognac leather by George Bighinello for Eurosalotto, Italy, in the 1970s. A large lounge sofa in cognac leather by George Bi...

Mid-Century Wingback Italian sofa. It consists of a solid handcrafted wood structure with a curved high back and ebonized conical leg. Reupholstered in ...

Anfibio sofa-bed by Alessandro Becchi for Giovannetti, 1972. Fully restored and upholstered with high-quality grey Italian natural leather. Mattress upholstered with soft sheepskin wool. The Anfibio sofa ranks among the most outstanding cult products of Italian design. It is innovative, original, and highly functional; it is a revolutionary sofa-bed, a symbol of high quality and sapient artisanry. It is possible to find it in the permanent collection of 13 museums worldwide, among which the MoMa in New York, since 1972. Alessandro Becchi designed the “Anfibio” sofa for the Italian manufacturer Giovannetti in 1970. It is characterized by generous dimensions and soft, embracing shapes that invite relaxation and comfort. It reminds a floating dinghy thanks to its lack of rigid mechanism. This feature inspired its name, which means amphibious. Furthermore, the sofa presents a rectangular steel structure and padding in non-deformable high-density polyurethane, covered with acrylic thermo-welded fibers and protective fabric. The Anfibio sofa by Giovannetti is available covered in leather or fabric and several colors. This artwork is the ideal convertible solution, the perfect combination of aesthetic research and innovative household living. Alessandro Becchi was born in Florence in 1946. He studied at ISIA in his hometown, and in the late 60s, he began his career as a designer. In 1970 he designed the revolutionary Anfibio sofa for Giovannetti. In 1972, thanks to the success of Anfibio, he was invited to the exhibition “Italy: the New Domestic Landscape” at the Museum of Modern Arts in New York. This date opens in close collaboration with Giovannetti. He designed a series of sofa-beds, such as Only You, Brando, Diletto, and the famous armchairs Le Bugie...

Very comfortable four-seat sofa model Coronado by Tobia Scarpa for B&B Italia. This large edition is not in production any more. It has soft cognac colored leather cushions and frame...

Mid-Century Modern Italian three-seat flamingo pink velvet "Coronado" sofa by Tobia Scarpa for B&B. Project from 1960s The sofa can come as a living room set together with its pair ...

Two seater sofa, velvet fabric, mahogany, Italy, 1950s This beautifully shaped sofa of Italian origin comes with an expressive forest green colored upholstery that is pleasing to th...

Post-modern pink and red Alcantara sofas, Italy 1980s This rare set of pink and red postmodern sofas have a unique look: their brightly coloured cush...

In the 1950s, Italian design took a crucial turn from the technical, formal and artistic point of view. Designers took tips from names in contemporary art and architecture like Alvar...

"Triennale corner" curved sofa designed by Marco Zanuso and edited by Arflex in 1951. Made of solid wood structure and polish brass legs. Upholstered in dark green cotton velvet.

Curved sofa upholstered in yellow cotton velvet and legs made of brass, Italy.

Osvaldo Borsani for Tecno, sofa or daybed, model D70, steel, brass, fabric, Italy, 1954. Osvaldo Borsanis sofa 'D70' was presented at the Triennale of Milan in 1954 where it won the Gold Medal for design. Not only the design is extraordinary, because so is the technology. With a single twist the back and seating are positioned upwards or down, all to create the highest comfort for the sofa or daybed. This eccentric sofa...

Important wall unit, a large curved "conversation" sofa by Dassi executed in 1940 attributed to Ico Parisi. Part of a unique living room designed to commission, L-shaped. Mahogany, maple wood, brass, white cotton. original key Measures: H 84 cm, 330 x 150 cm. Brass plinth base H. 15 cm. unique room very large and curved sofa, removable; an hanging shelf, asymmetrical door fine and elegant details in "grissinato" wood. Please note this item is sold as single piece but belongs to a complete dining room...

We are delighted to offer for sale this very rare fully restored hand dyed cigar brown leather Promemoria Gioconda hand made in Italy chaise lounge daybed This is a nice sized des...

These two futuristic and Minimalist chairs form together a sofa; one in pink/purple (corner model) and the other purple/purple. The two colors are in perfect harmony when placed toge...

An organic / biomorphic and asymmetric sofa. Designed by an unknown Italian designer. Oak legs bear original brass caps, upholstered in brown velvet fabric. Other designers of the ...

Kirk is a set of armchairs and sofas conceived as a game of building blocks, in which the container and the contents play an interlocking game based on minimal asymmetries, unexpecte...

By unknown designer or manufacturer. Two parts reupholstered in alcantara. should be cleaned or re-upholstered.

Saporiti Italia padded leather and stainless steel sofa Offered for sale is an elegant Saporiti Italian two-seater stainless steel and padded ...

Fabulous, super rare, and monumental sculptural form 'Grand Prix' lounge set by prestigious French sculptor Maurice Calka (1921-1999) for Arflex, Italy, 1960. The upholstery on ...

Mid-Century Modern Italian sofa with chrome back details and original velvet upholstery. Overall the sofa is in good vintage condition.  

Italian modern Velvet sofa mod. Utrecht by Gerrit Thomas Rietveld for Cassina , 1990s fantastic three-seater sofa mod. Utrecht with curved seat and backrest, padded and upholstered ...

This sofa with two armchairs was created by the artisans of the famous Cantù company, Silik, in the 1960s, in Venetian Baroque style, in velvet and embossed velvet, the structure is ...

This sofa was produced in Italy in the 1950s. The feet are covered in Macassar. The sofa is newly upholstered with a gray fine velvet.

The Onda three-seat sofa–Onda meaning “wave” in Italian– by Jonathan De Pas, Donato D'Urbino and Paolo Lomazzi, earns its namesake from the tubular stainless steel frame that forms i...

Iconic Anfibio sofa. Designed for Giovanetti by Alessandro Becchi, 1970. This sofa bed has an amazing patine on the original leather. No weak spots or holes in the leather. Rare ...

Italian sofa model D70 designed by Osvaldo Borsani for Tecno in 1954 with metal frame, polyurethane foam padding and new blue green velvet upholstery by the prestigious Rubelli Venez...

Mauro Lipparini for Saporiti 'Avedon' sofa, fabric, wood, metal, Italy, 1980s A truly wonderful piece that breathes the elegance of Italian Post Modern design. This design by Mauro ...

Cini Boeri (1924-2020) Bengodi A rectangular three-seater sofa covered with velvet upholstery, the seat and back each with two cushions on six feet. Original edition by Arflex. Ita...

Signed and dated. Antonio Pio Saracino’s furniture is of a piece with his sculptural and architectural projects. Of ingenious and meticulous design and execution, each work is perfe...

This Oak Officina Rivadossi bench is a breathtaking fusion of functionality and aesthetics that ceases attention in any setting. This bench goes beyond its practical purpose and tran...

Mario Bellini "Camaleonda" modular sofa for B&B Italia, Italy, 1970, four elements. "Camaleonda" is an icon, rediscovered. A special project made possible this limited edition of "...

Comfortable 3 seater 'Sheriff' sofa by Brazilian designer Sergio Rodriques. This classic sofa was manufactured by ISA in Italy under license by Sergio Rodrigues. This sofa embodies t...

Cini Boeri for Knoll, sofa, model 'Brigadiere', leather, lacquered wood, Italy, 1976. Architectural sofa model 'Brigadiere' designed by Italian designer Cini Boeri for Knoll. This ...

Postmodern Vladimir Kagan Bilbao sofa by Preview. The sofa is covered with ultra suede and is very clean. Please check all the photos for the condition.

From an idea of Cav. Giovannetti Benito was born the project Anfibio. Production year 1970. Its history is full of important events and participations. A piece considered a “Classic”...

Vittorio Valabrega sofa, maple, fabric, Italy, 1920s. Elegant and beautiful two seat sofa with a maple frame, and a vertical striped fabric in green and beige motive. This settee is...

Cornaro two-seater sofa, designed by Carlo Scarpa and manufactured by Studio Simon in 1974. Made of Iroko wood, foam, and azure chenille velvet. Excellent vintage condition. Born in Venice on June 2nd, 1906, Carlo Scarpa began working very early. Only a year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity; from 1927, he began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building which stands on the banks of the Grand Canal, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa was constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, all worth mentioning. One of his key works, despite its relatively modest diminished proportions, was the first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in how twentieth-century museums were set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his most incredible ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti Award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on renovating and restoring the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he worked on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began building a villa in Udine for the Veritti family. To shed some light on how much his work evolved over the years, it may be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, plenty of other episodes can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen in 1973, Carlo Scarpa started building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he carried out simultaneously on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, arising out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem,” [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea,” followed by a cloister that ends by a small chapel, with an arcosolium bearing the family sarcophagi, the central pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways, teamed with the luminosity of these harmoniously blended spaces, shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all his many skills to come up with this truly magnificent space. As well as an outstanding commitment to architectural work, with the many projects we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure.” Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded eight years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana,” “Quatour,” and “Orseolo.” While in 1974, they added a couch and armchair, “Cornaro,” to the collection and the “Toledo” bed...

With its iconic lines, features for which it was shortlisted for the XXVI Compasso d’Oro, the T33 sofa is presented by Officina Della Scala, winner of the ADI Design Index 2019 as ex...

Marenco Sofa is designed by Mario Marenco for Arflex. This sofa features the system with making the armrest and seat as the base portion. There is a metal...

Sofa, beech, fabric, Europe, 1940s This sofa is a beautiful piece made in the late Art Deco period in Europe. It has a very strong appearance, due the high back and the angular shap...

Mid-18th Century hand-carved 1750 Venetian Baroque walnut sofa, three-seat with armrests. Remarkable work by Venetian cabinetmakers. The 18th C...

Vittorio Introini for Saporiti, three-seat sofa, fabric, acrylic, chromed metal, Italy, 1969 This eccentric sofa named ‘Larissa’ epitomizes a beautifu...

Sofa designed by Piero Lissoni in 2017. Manufactured by Cassina in Italy. An evolution of the iconic 8 sofa, 8 cube collection revisits and softens up the...

Flow, adapt, create void, rearrange space, receive and renew indefinitely. The new Avant-Après seating is able to do it all. Rigid yet lightweight, the sofa comes in fascinating conf...

Modular system that can be use as a sofa, bench or other options designed by Charlotte Perriand in 1953. Relaunched by Cassina in 2004. Manufactured by Cassina in Italy. A modul...

Pixel Light, the new seating system design by Sergio Bicego, stems from the desire to expand on the concept of form flexibility to reach a more sophisticated one of fluidity of space...

Bed & Breakfast is a sofa which transforms into a comfortable bed simply by folding down the backrest. The sofa bed is easy to open, thanks to a rectangular hole cut into the underside of the base, and to the special structure of the boxspring, which runs horizontally on a finger-jointed mechanism to create the extra length needed. Bed and Breakfast ranges are comprised of the Sofa-double bed and the Chaise Longue-single bed. This is the result of advanced research into new-generation materials which give maximum comfort with optimum resilience. The maxi scatter cushions unfold to create a small quilt, and can then be refolded and fastened with two buttons, to offer excellent back support. The designer Giuseppe Viganò is dedicated to the industrial design of furniture products and to the artistic direction of companies in the sector. He also provides graphic consulting for the production of catalogues, getting directly involved in the photography, page layout, communication and advertising pages. He designs trade fair layouts and permanent furniture shops or temporary areas for specific events and personally intervenes by indicating the choice of products and scenery design. In 2007 he started working with Saba...

The Pinch selection stems from reflection on materials and the construction techniques in contemporary padded seating. The structures of Pinch sofas and arm...

Ananta Class is an informal and versatile modular range that allows endless combinations of the independent backrests and bases available in 80, 120, 160, 200 and 240 cm lengths. The...

This newly upholstered Italian B&B sofa and or loveseat is from the 1980s. It is in an off-white textural checkerboard upholstery fabric. The sculptural arms add a dimension. It has ...