Living Room Sets

The cube sofa was designed by Jorge Zalszupin (1922-2020) in the 1970s. The elegance, a feature of Zalszupin designs, on this piece does not come from sculpted wood details or the...

A pair of armchairs and sofa, anoynmous for Paul Boman, Finland, 1930s. Stained birch and rattan, upholstered cushions. Dimensions of the chairs: H: 79 cm / 2' 7 1/4'' W: 60 cm / 2...

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...

This sofa and pair of chairs is from London and dates from the early 1970s. All three pieces were newly upholstered in a gold moleskin fabric with black welting by the European deale...

Afra & Tobia Scarpa “Soriana” Sofa for Cassina, Original Brown Leather and Chromed Steel, Italy, 1969. Although technically designed in the 1960s, the "Soriana" model by the Italian...

A very fine suite of 19th century French Louis XVI armchairs and settee. Finely carved and detailed with the original gilt and...

Sofa with asymmetrical arm- and backrests, upholstered in a beige, tightly woven boucle fabric. Model "Koala". Sofa: Height: 43” back, 17” Seat Width: 64” Depth: 33”  

Armchair and stool Theodor set composed of 1 armchair and 1 stool, with solid wood structure, upholstered and covered with cotton velvet fabric in fadded orange finish. Feet in ash ...

Early 19th-century salon with a suite of four armchairs, two bergères and a sofa in carved mahogany, decorated with gilded bronze mounts and chased in relief with scenes from Roman h...

Rare complete Italian Art Nouveau 1900s living room set includes: 1 sofa 2 armchairs 2 chairs Refined living room set in carved beech wood. The wood has an elegant carved decoration...

A nine piece Italian, Louis XV style, gilt-wood Suite. This masterfully handcrafted set includes one sofa, two armchairs with matching footstools, and four chairs, all unified by a a...

Kaare Klint freestanding two-seat sofa on six-legged, profiled mahogany cross-frame. Sides, seat and back upholstered with patinated leather. Executed by Rud. Rasmussen, Copenhagen. ...

Set of 4 armchairs in stained oak, Arts & Crafts, Austrian work circa 1905. Possible to divide the set in pairs (2 pairs)

Vivai Del Sud 1970 Bamboo Living Room Set With original Cushions Product Details Bench + pair of chairs + table with a leather-covered top. Bench dimensions 97 W x 90.5 H x 51 D cm C...

We are delighted to offer for sale this stunning fully restored vintage hand dyed Cigar brown leather Art modern two-seat sofa which is part of a large suite As mentioned this is ...

Expertly reupholstered three seat medium grey sofa with arms attributed to Harvey Probber. Also similar to designs by Milo Baughman. Very high quality construction, heavy, and very c...

Louis XVI French settee and 4 arm chairs Made in the 1800s Made in France Beautiful carved giltwood detail Upholstered in Aubusson tapestry with each chair and settee depicting a dif...

Mid century set (4) of three-seat sofa, two seat loveseat, one armchair and matching coffee table. Crafted in Sweden, this substantial set will fit well in a mountain or lakefront h...

Jell Sofa by Alter Ego Studio Dimensions W 260 cm D 120 cm H 85 cm Product features Product options: Upholstery: Available in all Alter Ego Studio leathers and fabrics. Availab...

An extraordinary Ensemble very carefully restored by an artist carpenter. Original upholstery

We are delighted to offer for sale this fully refurbished, George Smith Norris three piece sofa and pair of armchairs upholstered in Mulberry Flying Ducks...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. To r...

This tufted sofa in the Chesterfield style includes over 250 buttons. The sofa features a luxurious deep, low seat and upholstered in rich yellow velvet. The frame is made from real...

A three piece suite of Art Deco Rattan furniture,C.1929, American, Heywood Wakefield Co. Gardner, Ma.This set of rattan is also known as stick wicker and described as modernistic in their 1929 Furniture catalogue. The three pieces are done in a white painted finishing and are all in very good condition. The fabrics are in a light background decorated with an embroidered style Sea Horse / sea life design and is also in very good condition. The set consists of a three seat sofa, an extra large arm chair with magazine pocket and its large companion arm chair, As per the catalogue: these deep seated chairs were modeled on a Chinese boat chair that was fashionable in the 1920s.The matching triple hump curved back sofa continues this modern movement with its high curved arms. A very impressive, comfortable and stylish matching suite. The sofa measures: 34.75" Ht. x 68.25" W. x 33.5"D. x seat Ht 16" The large arm chair: 34.25" Ht. x 33" W. x 42" D. x seat Ht. 16.5": The small arm chair...

Circa 1930 1930’s English mahogany bergere suite. Reupholstered in linen with foam core feather wrap cushions   Measures: Sofa W140...

A wonderful original matching 1970s Brazilian sofa attributed to Jean Gillon. This amazing comfortable 3-seater has a unique washed dark-grey oak frame and soft Brazilian leather cus...

An elegant three-piece Art Deco seating set consisting of a sofa and two lounge chairs with ebonized frames. The sofa features a rounded backrest that rises gracefully to the right a...

Piece designed by Michel Van Beuren in the early 60s. It is an occasional lounge chair, reupholstered in cowhide (100% original) in burgundy color. With very clean and elegant design...

Iron Design Award Winner for Furniture Design at the A’Design Award Competition 2023-2024 Silhouette is a surreal reminiscence of a woman’s sensual curves that arise designed in an ...

DS-2878 sofa by De Sede Dimensions: D 170 x W 104 x H 86 cm Materials: board material, leather Prices may change according to the chosen materials and size. A re-edition tha...

Paul Frankl style rattan living room set including a matching three-seat sectional sofa, lounge chair and ottoman. Both the sofa and chair feature the famous six strand square pretze...

A very fine French 19th century Louis XVI style hand cream painted and carved five-piece salon suite, comprising of a sofa, loveseat or canapé, two bergeres or armchairs, and two sid...

Introducing a rare and monolithic lounge chair and ottoman set designed by the influential Adrian Pearsall for Craft Associates. Audacious in it's scope, shape and materials used thi...

On Sale limited time...! Exceptional Lois XV Five Piece Living room Set France, circa 1760-80 by Jean-Baptiste-Claude Sené, maître. Comprises of 5 pieces: 1 Loveseat (sofa, canape)...

The large armchairs of the rare model designed by Charles Dudouyt are a true rarity that fuses sculptural art with functionality. Dudouyt, renowned for his distinctive approach to fu...

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

We are delighted to offer for sale this exquisite Victorian hand made in France, Walnut framed with Napoleonic Blue upholstery three piece suite. A very good looking and well made...

Unio Curved sofa by Poiat Designers: Timo Mikkonen & Antti Rouhunkoski Collection UNIO 2021 Dimensions: H. 72 x W. 220 D. 110 cm SH. 40 (3 seaters) Model shown: Cat 3. Hanoi 04 b...

This beautifully restored Paul Frankl-inspired 3-strand 3/4 pretzel six-piece living room set featuring “Kauai“ designs chair and sofa pair with round tables. Included is a 2-seat lo...

We are delighted to offer for sale this stunning custom made to order vintage fully restored hand dyed cigar brown leather Chesterfield corner sofa with solid hand turned walnut bun feet A very rare sofa, this is a vintage piece bought from Harrods London in the late 60's to early 70's, the leather upholstery is all original, the cushions are full leather on both sides so should the worst happen and you damage or stain one side you can simply flip it over The sofa has been fully restored to include a light strip back, its then been hand dyed six times and antiqued this one of a kind deep cigar brown colour. The feet are all new hand turned solid walnut which have been professionally stained and French polished, they have been specially fitted with 8mm metal axles so they can be unscrewed for ease of transport, the base cover is hessian throughout Complete sofa dimensions: Height 88cm Width 304.5cm Depth 266cm Right sofa dimensions Height 88cm Width 185cm Depth 85cm Left sofa...

Newly upholstered. Wooden parts have been refurbished. The dimensions of the sofa: Height 76cm, seat height 46cm, width 153cm, depth 69cm. The dimensions of the chair: Height 76cm...

A fantastic late 19th century nine-piece Louis XV style parcel-gilt carved walnut and Aubusson Tapestry Parlor set. Consisting of four side chairs, four armchairs and a settee, ea...

Sofa dimensions: Height: 77 cm (30.3 in) Width: 120 cm (47.2 in) Depth: 60 cm (23.6 in) Seat: 45 cm (17.7 in) Chair dimensions: Height: 77 cm (30.3 in) Width: 57 cm (22.4 in) Depth:...

Antique French armchairs, intricately hand-carved in the late 1800's, in as found condition. The pair of French antique armchairs, sti...

Mario Bellini “Le Bambole” sofa for B&B Italia, brown Nabuk, Italy, 1971. This is a timeless Postmodern design icon. The starting point was a shopping bag containing formless materi...

Vintage Custom Rattan and rush chair, Rattan side table and rush lamp. Lamp does not come with shade. Chair is ready for your choice of Seat cushion to match...

Beautiful Set of six Biedermeier board chairs from Vienna, Austria, circa 1830. Wonderful bright cherry veneer (shovel) and solid wood (frame and legs). Book-matched cherry veneer o...

Massive and yet cosy, sculptural and yet functional. It is both welcoming and comfortable. Egli Design has struck a unique balance that makes 'Ameba' an alluring work of design. Ge...

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...

Burke Maurice design years '60 for Arkana British prod. set of four chairs tulip good vintage condition for the entire set and no every cushions for all material is metal, acryl...

French Empire-style walnut and marble eight-piece salon set with golden and light yellow fabric and bronze mounts. Impressive French Empire style eight-piece salon suite made of waln...

A Extremely Rare Set of Five Portuguese Armchairs Mid 18th Century Same chair is in the National Museum of Antiques Art, in Lisbon Reference: “World Furniture”, by Helena Hayward, ...

Rare Italian design modular sofa, 1970s in brown velvet. The sofa is modular and made up of four armchairs. Busnelli brand present on each armchair. The measurements indicated are fo...

Afra & Tobia Scarpa "Soriana" Sofa for Cassina, Burgundy Velvet, Italy, 1969. Although technically designed in the 1960s, the "Soriana" model by the Italian duo Tobia and Afra Scarp...

Single pillow made of antique hand silk embroidery Suzani textile, beautiful vine and flowers motifs. Fresh quality insert, fine cotton backing. Some missing embroidery due to age an...

Best Chair Design at the International Design & Architecture Awards 2021 Honorable Mention at the European Product Design Awards 2021 The Arches dining chair is designed in the like...

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 sofa was produced by the Brazilian company Celina Decorações in the 1960s. The sofa is made of solid Rosewood, with seats and backs upholstered with a gorgeous fabric 100% Organic Silk, from our collection Bossa Fabrics. The armrests have a rectangular design that favors the visualization of the beautiful veins of the wood, with upholstered sides. The base consists of four rectangular legs, providing lightness to this three-seat sofa. Celina Decorações signed one of the most modern lines of Brazilian furniture in the 1960s. Based in Rio de Janeiro, the Celina Decorações factory imposed high-quality standards, maintaining handcrafted characteristics. With a color pallet rooted in natural shades, our Fabric collection tells a bit about Brazilian biodiversity, through raw and natural materials and artisanal processes. For dyeing this textured fabric was used yerba mate...