Living Room Sets

De Sede DS46 Sectional sofa-Living room set in Patinated Cognac Brown Buffalo Leather, Switzerland 1970s This twelve-piece De Sede DS 46 sectional sofa-living room set is a one-of-a...

Mid-Century seating group consisting of four armchairs and a table: 33 x 41 x 41 cm. The armchairs are made of white plastic and are on castors. The cubic armchairs are equipped with...

- good original condition with minor signs of use - Dimensions of the Sofa: 86x197x82.

Original condition.

A classic and chic three-seat sofa from the Bastiano series, designed by the iconic Italian designer duo Afra & Tobia Scarpa for Gavina, Italy, circa 1960. This sofa has a solid rose...

Original condition.

Introducing the exceptional Wolfgang Feierbach FG2008 set, featuring three yellow seats and a coffee table in their original brown corduroy fabric. As you may already know, the FG200...

Vintage Dakota Bergere chair and ottoman by Hammer Fine Furniture. Featuring French styling with Tuscan Field Green Leather and Brixton Crackle finish frame with nailhead trim. Made...

This gorgeous living room set consist of two very rare lounge chairs and matching coffee table. The set was produced in late 1980s by Stol Kamnik. Its modern look is still fashionabl...

Soriana two-seater sofa, designed by Afra and Tobia Scarpa, and produced by the Italian manufacturer Cassina in 1969. It features its original brown leather upholstery. Winner of t...

Nanna Ditzel for R. Wengler, Set of five stools and a coffee table, rattan, textured glass, Denmark, designed 1961, manufactured 1960s-1970s This lively lounge set, designed by Nann...

Sofa, aluminum, leather, Italy 1970s Comfortable sofa made in the 1970s. This sofa strongly represent the essence of furniture design of the 1970s, going beyond the strict conventio...

This sofa was produced by the Brazilian company Celina Decorações in the 1960s. The piece is made of Imbuia wood, with seats and backs upholstered with a gorgeous 100% organic silk f...

Afra & Tobia Scarpa “Soriana” three-seater for Cassina, velvet and chromed steel, Italy, 1969. Although technically designed in the 1960s, the "Soriana" model by the Italian duo Tob...

De Sede DS46 Sectional sofa-Living room set in Patinated Cognac Brown Buffalo Leather, Switzerland 1970s This De Sede DS 46 sectional sofa-living room set is a one-of-a-kind piece, c...

Set of six chairs in the style of Danish designer Folke Pålsson.

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...

Confidential Seating Set by Alberto Rosselli for Saporiti, Cognac Leather, Italy, 1970s

Afra & Tobia Scarpa “Soriana” three-seater for Cassina, bouclé wool and chromed steel, Italy, 1969. Although technically designed in the 1960s, the "Soriana" model by the Italian duo Tobia and Afra Scarpa is firmly associated with the next decade, when its popularity peaked. "Soriana" is low and invites you to sink into its curves. Its most notable feature, however, is the Minimalist structure in chromed steel. This external structure in steel rod keeps the cover taut using buttons...

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 ...

A stunning pair of armchairs made in Italy in the 1970s. The seat is very comfortable and supportive. The pads are still original and in very good condition. Original natural leather...

Brazilian company Celina Decorações manufactured this sofa in the 1960s. The piece is composed of a solid Rosewood structure, with cushions upholstered with leather. This three-s...

This is a beautiful light brown color bamboo covered with canvas and lovely leather cushions. We have a set with a round table with frosted glass top, a high chair and a low chair w...

Dining room set ‘’Tapiolina’’ designed by the Finish designer Ilmari Tapiovaara for Fratelli Montina. Italy, 1970s. Ilmari Tapiovaara’s work is characterized by the most radical fun...

Original condition.

Three-seater “Simone” sofa, designed and manufactured by Studio Simon in 1975. The structure is made of black lacquered wood. A black leather big seat completes the sofa. The m...

Set composed of three Bonanza lounge chairs, designed by Afra and Tobia Scarpa and produced by the Italian manufacturer C&B Italia (now B&B Italia...

Mario Bellini for B&B Italia, 'Le Bambole' sofa, brown patinated leather, Italy, 1972. This piece is one of the very rare prototypes or early editions, and still 100% original, read ...

Early Ikea Settee and Chair designed by Tord Bjorklund, Sweden.Wonderful design. GREAT QUALITY AND CONSTRUCTION. Chair measures 30" wide, Hand delivery avail to New York City or anyw...

Mario Bellini “Le Bambole” pouf for B&B Italia, lapin fur, Italy, 1971. This timeless Postmodern design icon came into being between 1970 and 1972. The search for a new shape for ...

Stunning Mid-Century modern Scandinavian lounge set by Sven Ellekaer for Skippers Mobler A/S Design, 1960s Denmark. There is a three-seater sofa and one lounge chair. Made of solid Rosewood and brown leather in excellent condition. The lounge charis...

Joaquim Tenreiro (1906-1992) is known as the “father” of Brazilian modernism, being one of the pioneers, with a work that reflects a refined coexistence of traditional values and mod...

Mario Bellini "Le Bambole" living room set for B&B Italia, three-seater sofa and two armchairs, faux-fur, foam and metal, Italy, 1971, set of three. The search for a new shape for u...

The greatest works of Modern and Brutalist architecture seem to defy physics - with top-heavy silhouettes, unexpected slivers of negative space, and stacks of heavy, blocky forms see...

Sesann two-seater sofa, designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. It features wool bouclé upholstery and a chrome tubular cage as s...

Very rare and amazing sofa set by robin day for hille. 4 Seats and one table can be combined like you want it. one 3 section base (221cm) and one 2 section base (142cm). A very rare ...

This unique and gorgeous modular sectional sofa from the 70ties is manufactured in germany. It has slightly curved design. The Sling shape is made of vegetal leather with fine deta...

Italian armchair with covering in black faux crocodile imitation leather, structure in antiqued yellow / pink color beech. It is very elegant and comfortable. Comes from an old shop...

Wood and Upholstery Restored. Marble in original condition Solid Rosewood structure, Rosewood veneers, Marble and Bossa Fabrics Upholstery.

Maison Regain Style Sofa/living room set in Elm and bouclé Fabric, France, 1970s This is a beautiful Mid-Century Modern Solid Elm Wood Sofa/living room set that was manufactured a...

Bonzanini Rudy design for Tecnosalotto Mantova Italy in years 70 Set of 4 chairs with structure in chrome and cuscion ulphostered textile si...

MASSIVE GREY/BLUE LEATHER "DS-18" SECTIONAL CORNER SOFA BY DE SEDE DESIGN TEAM, SWITZERLAND 1980S Looking for a statement piece that combines luxury and history? Look no further tha...

Mid-Century Modern Italian Pair of Bamboo and Rattan Lounge chairs in the style of Bonacina. The Armchairs are in really good vintage condition and have a beautiful patina due to ag...

Two-seater “Simone” sofa, designed and manufactured by Studio Simon in 1975. The structure is made of black lacquered wood. An azure velvet big seat completes the sofa. The min...

Set of six chairs curved iron frame synthetic fabric seat designer George Coslin production Faram 1960s .

Enhance your interior with this versatile set of 5 furniture pieces, offering an abundance of variation options. If you love changing up your living space regularly, this set is perf...

Mario Bellini “Le Bambole” two-seater sofa for B&B Italia, lapin fur, Italy, 1971. This timeless Postmodern design icon came into being between 1970 and 1972. The search for a new...

Afra & Tobia Scarpa “Soriana” chaise longue, leather and metal, Italy, 1969. The Soriana lounge chair is low and soft and invites the sitter to sink in. Its peculiar feature is the ...

We can neither confirm nor deny that these Paul Boulva suspension chairs have seen screen time on Start Trek: The Next Generation, but the teal color resemblance to the Ten Forward chairs is uncanny. The illusiveness of this line makes their discovery all the more exciting when considering the exceptional condition. We’re certain you won’t find a more sublime representation of these chairs and end table anywhere. Clearly inspired by (and often mistaken for) the Etcetera chair by Jan Ekselius. Created by Canadian Designer Paul Boulva for Artopex...

Italian modern Black metal plastic Chairs 4855 by Anna Castelli Kartell, 1990s Set of 12 dining room chairs mod. 4855 with round seat with a hole in the centre, in plastic and black...

Mid-Century Modern Seating Set, Leather and Wood, Italy, 1970s - Original Leather.

Pair of armchairs, model Klinte, Tord Bjorklund for Ikea Sweden 1980. Chromed steel tubular structure with brown leather seat and armrest. Seat height: 40 cm.

This sofa was designed by Michel Ducaroy for Ligne Roset in the 70’s. He devoted 26 years of his life to the head of Ligne Roset’s design department. It was in 1973 that he designed ...

Lc2 two-seater sofa, with black tubular structure with satin finish and completely removable cover in white cotton fabric. Designed by Le Corbusier, Jeanneret and Perriand for Cassi...

This vintage armchair and ottoman were produced in Denmark by Berg Furniture during the 1970s. These were upholstered in brown leather wit...

Vintage oak seating area couch easy chairs 1950s, Danish Sitting area from Denmark consisting of a sofa, two easy chairs and a coffee table. Period 19...

Mario Bellini “Le Bambole” living room set for B&B Italia, two-seater sofa and pouf, lapin fur, Italy, 1971. This timeless Postmodern design icon came into being between 1970 and 19...

Vintage set of two iconic design lounge chairs handcrafted by German company Bretz, in very good condition. The color is red in velvet upholstery and it belongs to the icon Gaudì ser...