Riccardo Rosso, Piero Derossi and Giorgio Ceretti Furniture

Gufram pulls back from the world of design. It declares it and turns the page – with a tombstone. Since the time has come to call it quits because of the many mudslinger that have al...

Maharam Bear by PIN-UP 001 Terracotta Initially created for PIN–UP’s Fall/Winter 2016/2017 issue, the Bear is handmade by a small-scale Canadian produ...

Chaise Lounge Chair by Preview, 1970. Channel tufted original upholstery which as shown in pictures has some tears at the seams in the back. Measures 66" long, 31" wide, 27" tall 1...

Inspired by the timeless concept of the chaise longue, Geoffrey Harcourt's interpretation from 1970 stands as a testament to modern design. Known as the Cleopatra, this unique Dutch...

Exhibited for the first time at the Triennale in Milano in 1968, Sassi became one of the symbols of Gufram's naturalistic inspirations and of the ""true-fake"" concept, which can be found in many of its products. The stones, the largest is a pouf; the small ones ornamental elements...

A fine contemporary A. Rudin chaise lounge sofa, in grey upholstery, with rolled back and single arm, down and foam filled seat cushion, rising on tapered wood block feet, accompanie...

A superb quality 19th century regency period Mahogany chaise longue of rare design having Elegant carved decoration which includes eagles Head to back and scrolling end raised on unu...

Modern Oversized Chaise Lounge / Daybed. Upholstered in an off-white fabric.

Chaise Lounge with extraordinary comfort, a replica of an 18th-century English model. Solid pine wood structure, covered with a built-in cushion made with compartments in 100% cotto...

Chaise lounge chair with tufted leather upholstery. Attractive wave shape design with wood legs. Please confirm location

Adrian Pearsall chaise lounge for Craft Associates c.1960s, USA. The lounge features a curved seat back and rounded seat cushion that rests on four tapered walnut legs with casters. ...

Russian designer Maxim Scherbakov‘s new exhibition at Rome’s Contemporary Cluster gallery, he pushes that idea to the extreme: What if design could be all about emotion, and little else? His barely functional pieces, and his general conceit, feel uncomfortable at first — we’re not sure we want to live in a world where design is purely an aesthetic indulgence — but in an era when furniture is increasingly difficult to distinguish from art, it does feel in some ways like we already are. And the ornate backdrop of the gallery’s home, the 14th-century Palazzo Brancaccio, serves as a potent reminder that it’s possible we always have. Maxim Scherbakov, who works under the studio name Supaform, says that he developed the new collection “as a result of a careful visual search for the frontiers of comfort,” seeking to celebrate “beauty for no reason,” he says. His floor lamp has no bulb, his coffee table is too bumpy to hold a glass upright, and his desk has trick drawers and a gap in the middle where its writing surface should be. Yet his various seating elements look no less functional than, say, Rick Owens’s, and Scherbakov has a compelling raison d’etre: Also a longtime painter, he pulled all of the works directly from his canvases, making them a literal elision of the two-dimensional realm and the three. If he can celebrate fantasy and feeling in one of them, he wondered, then why not the other? This wooden sofa is a part of the 'Hidden Entourage...