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Walter Knoll Model Studio 190 Grey 3 Seats Leathersofa Design Jürgen Lange

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  • Red Alcantara Three-Seater Togo Sofa with Arms by Ligne Roset, 2006
    By Ligne Roset, Michel Ducaroy
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  • White Leather Three-Seater Togo Sofa w/ Arms by Ligne Roset, 2008 (2 Available)
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    Gorgeous three-seater white leather Togo sofa designed by Michel Ducaroy for Ligne Roset from 2008. (Two available - the other is in a separate list...
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  • White Leather Three-Seater Togo Sofa with Arms by Ligne Roset, 2007
    By Ligne Roset, Michel Ducaroy
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    Gorgeous three-seater white leather Togo sofa designed by Michel Ducaroy for Ligne Roset from 2007. (2 available - another in separate listing). Designer Michel Ducaroy drew inspira...
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  • Black Leather Three-Seater Togo Sofa by Michel Ducaroy for Ligne Roset, 1998
    By Ligne Roset, Michel Ducaroy
    Located in Malibu, US
    Gorgeous 3-seater Togo sofa in black leather designed by Michel Ducaroy for Ligne Roset from 1998. Designer Michel Ducaroy drew inspiration for the Togo's design from an aluminum to...
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  • Three-Seater Togo Sofa in Brown Cotton by Michel Ducaroy for Ligne Roset, 2007
    By Ligne Roset, Michel Ducaroy
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    Beautiful 3-seater Togo sofa in brown cotton designed by Michel Ducaroy for Ligne Roset from 2007. Designer Michel Ducaroy drew inspiration for the Togo's design from an aluminum to...
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  • Pristine Florence Knoll Sofa for Knoll International
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    Pristine Florence Knoll sofa for Knoll International. Upholstered in gorgeous Sina Pearson fabric. Florence Knoll was a pioneering designer and entrepreneur who created the modern look and feel of America’s postwar corporate office with sleek furniture, artistic textiles and an uncluttered, free-flowing workplace environment. To connoisseurs of Modernism, the mid-20th century designs of Florence Knoll, were — and still are — the essence of the genre’s clean, functional forms. Transcending design fads, they are still influential, still contemporary, still common in offices, homes and public spaces, still found in dealers’ showrooms and represented in museum collections. Ms. Knoll learned her art at the side of Modernist masters. She was a protégé of the German-American architect Ludwig Mies van der Rohe and Eliel Saarinen, the Finnish architect and teacher and the father of the architect Eero Saarinen. And she worked with the renowned Bauhaus architects Walter Gropius and Marcel Breuer. Throughout her career, influenced by the German Bauhaus school of design, she promoted the Modernist merger of architecture, art and utility in her furnishings and interiors, especially — although not exclusively — for offices. In the 1940s, she married and became a business partner of the German-born furniture maker Hans Knoll, and over 20 years she was instrumental in building Knoll Associates into the largest and most prestigious high-end design firm of its kind, with 35 showrooms in the United States and around the world. While her husband handled business affairs, Ms. Knoll was the design force of Knoll Associates. It grew to become the leading innovator of modern interiors and furnishings in the 1950s and ’60s, transforming the CBS, Seagram and Look magazine headquarters in Manhattan, the H. J. Heinz headquarters in Pittsburgh and properties across the United States, Europe, Asia and South America, including American embassies. Her “total design” favored open work spaces over private offices, and furniture grouped for informal discussions. It integrated lighting, vibrant colors, acoustical fabrics, chairs molded like tulip petals, sofas and desks with chrome legs...
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  • Pristine Florence Knoll Sofa for Knoll International
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    Pristine Florence Knoll Sofa for Knoll International. Upholstered in gorgeous Sina Pearson fabric. Florence Knoll was a pioneering designer and entrepreneur who created the modern look and feel of America’s postwar corporate office with sleek furniture, artistic textiles and an uncluttered, free-flowing workplace environment. To connoisseurs of Modernism, the mid-20th-century designs of Florence Knoll, were — and still are — the essence of the genre’s clean, functional forms. Transcending design fads, they are still influential, still contemporary, still common in offices, homes and public spaces, still found in dealers’ showrooms and represented in museum collections. Ms. Knoll learned her art at the side of Modernist masters. She was a protégé of the German-American architect Ludwig Mies van der Rohe and Eliel Saarinen, the Finnish architect and teacher and the father of the architect Eero Saarinen. And she worked with the renowned Bauhaus architects Walter Gropius and Marcel Breuer. Throughout her career, influenced by the German Bauhaus school of design, she promoted the Modernist merger of architecture, art and utility in her furnishings and interiors, especially — although not exclusively — for offices. In the 1940s, she married and became a business partner of the German-born furniture maker Hans Knoll, and over 20 years she was instrumental in building Knoll Associates into the largest and most prestigious high-end design firm of its kind, with 35 showrooms in the United States and around the world. While her husband handled business affairs, Ms. Knoll was the design force of Knoll Associates. It grew to become the leading innovator of modern interiors and furnishings in the 1950s and ’60s, transforming the CBS, Seagram and Look magazine headquarters in Manhattan, the H. J. Heinz headquarters in Pittsburgh and properties across the United States, Europe, Asia and South America, including American embassies. Her “total design” favored open work spaces over private offices, and furniture grouped for informal discussions. It integrated lighting, vibrant colors, acoustical fabrics, chairs molded like tulip petals, sofas and desks with chrome legs...
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