Foam Living Room Sets

Created by Michel Ducaroy in 1973 for Ligne Roset, the Togo is one of the most versatile icons of Mid-Century Modern and Organic Modern design. Extremely lightweight, it is designed ...

The Sesann lounge chair was designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. This set is composed of two lounge chairs upholstered in tobacco and chocolate brown alpaca velvet. Sesann is characterized by an organic and informal shape and is defined by the tubular metal detail that wraps around the soft, upholstered seat. In the 1970s, the Cassina catalogue...

Sesann dining room set, designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. It is composed of a three-seater sofa and an armchair. It features o...

Large living room set by Kenzo Takada for Roche Bobois, called the "Mah Jong" sectional sofa. Included in this set are 10 pieces in total which include 6 square seat cushions (which ...

A timeless design classic. Designed in 1973 by Michel Ducaroy for Ligne Roset, the Togo sofa is a true design classic. Its bold shape, soft pleats, and low, relaxed form make it inst...

This seating group from George Nelson’s "Modular Seating" series for Herman Miller combines timeless design with exceptional functionality. The flexible arrangement of elements allow...

Tito Agnoli attributed modular sectional soft leather sofa by Arflex, Italy 1970 The sofa consists of 7 modules (3 corner modules and 4 basic modules) and a footstool It can be...

'Aqueduct' Sofa by Poiat Setup 4 Dimensions : H. 77 cm x W. 370 cm x D. 230.5 cm (SH 40 cm) Aqueduct collection 2022 by Timo Mikkonen & Antti Rouhunkoski Upholstery: Larsen - Fox...

Counter Chair Gropius CS2 Designer: Kateryna Sokolova Model in the main picture wool, Woolland-64. Dimensions: Height: 88 cm / 29,13 in Width: 57 ...

Studio sofa by Kristian Sofus Hansen & Tommy Hyldahl for Nor11 Setup 6 (4 x curve ): Measures: W. 250 cm / D. 250 cm / H. 70 cm / SH. 47 cm 2 x curve barnum bouclé 24 2 x curve leather green Modular sofa...

An iconic 1970s design, the Sandra sofa collection was designed by Annie Hiéronimus for Cinna after she joined the Roset Bureau d'Etudes in 1976. Constructed from foam, this armchair...

Created by Michel Ducaroy in 1973 for Ligne Roset, the Togo is one of the most versatile icons of Mid-Century Modern and Organic Modern design. Extremely lightweight, it is designed ...

Sesann dining room set, designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. It is composed of a three-seater sofa and an armchair. It features o...

The Sesann lounge chair was designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. This lounge chair features a chocolate brown alpaca velvet upho...

'Aqueduct' Sofa by Poiat Setup 1 (Corner 1620 L + Open End 1620 L) Dimensions : H. 77 cm x W. 264 cm x D. 162 cm (SH 40 cm) Aqueduct collection 2022 by Timo Mikkonen & Antti Rouhun...

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...

Large living room set by Kenzo Takada for Roche Bobois, called the "Mah Jong" sectional sofa. Included in this set are 10 pieces in total which include 6 square seat cushions (which ...

This seating group from George Nelson’s "Modular Seating" series for Herman Miller combines timeless design with exceptional functionality. The flexible arrangement of elements allow...

Studio sofa by Kristian Sofus Hansen & Tommy Hyldahl for Nor11 Setup 6 (4 x curve ): Measures: W. 250 cm / D. 250 cm / H. 70 cm / SH. 47 cm Modular sofa: assemble different modules...

- Czechoslovakia, around 1970s - beautiful space age design - dimensiosn of chairs : height: 80cm, depth: 67, width: 63cm - the set is predestined to be newly upholstered in new tex...

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...

Original condition.

Sesann armchair, designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. It features khaki brown velvet upholstery and a chrome tubular cage as stru...

The iconic Togo sofa, originally designed by Michel Ducaroy for Ligne Roset in 1973 has become a design Classic.
This five-piece modular set is incredibly versatile and can be config...

The Sesann lounge chair was designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. This set is composed of two lounge chairs upholstered in tobacco and chocolate brown alpaca velvet. Sesann is characterized by an organic and informal shape and is defined by the tubular metal detail that wraps around the soft, upholstered seat. In the 1970s, the Cassina catalogue...

Dainty Pouf dark ochre amber by Warm Nordic Dimensions: D 55 x H 39 cm Material: Textile upholstery, Wooden frame, foam. Weight: 9.5 kg Also available in different colours and fi...

Gaetano Pesce created La Michetta as a fun conversation between his ideas, skilled artisans' work, and the people who use it. La Michetta is inspired by a simple bread from Milan cal...

Yeti sofa by Pepe Albargues Design by Vladimir Naumov Dimensions: Width 202 - depth 110 - height 82 - seat 44 cm. Materials: Pine wood structure, plywood...

French modular sofa from the 70s, set of 9 seats, Entirely reupholsteured in a caramel velvet jab Many shapes are possible You can set it up in ...

French modular sofa from the 70s, set of 9 seats, Entirely reupholsteured in a caramel velvet jab Many shapes are possible You can set it up in ...

DS-1025 Sofa by De Sede Design: Ubald Klug Dimensions: D 91 x W 156 x H 70 cm Materials: SEDEX upholstery with wadding cushion. Stable, compact frame made of beech and board mater...

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

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...

The Sesann lounge chair was designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. This lounge chair features a chocolate brown alpaca velvet upho...

The luxurious Sayari Outdoor Collection is inspired by the beauty of the African continent. The return of sculptural and curved seating - outdoors. I...

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

This is a beautiful Italian modernist leather sofa set- 3 seater and 2 seater. Three seater measures 30" H, 74" W, and 37" D. Two seater measures 30" H, 53" W, and 37" D. On Displa...

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

Soriana three seater sofa, designed by Afra and Tobia Scarpa, and produced by the Italian manufacturer Cassina in 1969. Re-upholstered with brown ve...

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...

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...

Studio sofa by Kristian Sofus Hansen & Tommy Hyldahl for Nor11 Setup 6 (4 x curve ): Measures: W. 250 cm / D. 250 cm / H. 70 cm / SH. 47 cm Modular sofa: assemble different modules to create your composition Wide range of fabrics and colors CAT 1: Fame CAT 2: Barnum, Breeze Fusion, Savoy CAT 3: Fiord, Hallingdal, Savanna, Zero*, Steelcut Trio, Moss, Safire CAT 4: Baru CAT 5: Dunes, Spectrum/Noir Introducing Studio, the newest sofa landscape in the NORR11 collection - a tribute to a timeless era of the 70s and its expressive aesthetics. Featuring a versatile but simple system of modules, appearing in limitless options to form numerous settings, shapes and styles to adhere to all types of environments. Whether for a small living setting or spacious public site. Studio is defined by its bold fluted upholstery characteristics inspired by late 1970s sofa styles...

Soriana living room set, designed by Afra and Tobia Scarpa, and produced by the Italian manufacturer Cassina in 1969. The set is composed of a three-seater sofa, a lounge chair and a...

Extrem Chairs by Terje Ekstrom upholstered in a burgundy wool by Loro Piana. Both sculptural and comfortable these Norwegian chairs are designed with ergonomics to provide back suppo...

This absolute unique and gorgeous modular sectional sofa from the 70ties is manufactured by LÜBKE & ROLF from Rheda in Germany ( later was the Name LÜBKE KG). From the same family...

Original condition.

The Sesann lounge chair was designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. This lounge chair features a chocolate brown alpaca velvet upho...

Sesann dining room set, designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. It is composed of a two-seater sofa and two armchairs. It features...

Sesann armchair, designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. It features khaki brown velvet upholstery and a chrome tubular cage as stru...

Galore module pouf grey melange by Warm Nordic Dimensions: D 75 x W 75 x H 44 cm Material: Textile upholstery, Powder coated black steel legs, Wooden frame, foam, spring system. W...

'Aqueduct' Sofa by Poiat Setup 2 (Corner 2305 L + Open End 1910 L) Dimensions : H. 77 cm x W. 332.5 cm x D. 162 cm (SH 40 cm) Aqueduct collection 2022 by Timo Mikkonen & Antti Rouh...

'Aqueduct' Sofa by Poiat Setup 4 Dimensions : H. 77 cm x W. 370 cm x D. 230.5 cm (SH 40 cm) Aqueduct collection 2022 by Timo Mikkonen & Antti Rouhunkoski Upholstery: Larsen ...

Soriana lounge chair, designed by Afra and Tobia Scarpa, and produced by the Italian manufacturer Cassina in 1969. Re-upholstered with brown velvet. Winner of the “Compasso d’Oro” pr...

Chair Gropius CS1 Designer: Kateryna Sokolova Model in the main picture Calico-29 Dimensions: Height: 74 cm / 29,13 in Width: 57 cm / 22,44 in De...

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

Counter chair Gropius CS1 Designer: Kateryna Sokolova Model in the main picture Wool, Calico 29. Dimensions: Height: 101 cm / 29,13 in Width: 57 cm / 22,44 in Depth: 57 cm ...

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

Dainty Pouf jade forest green by Warm Nordic Dimensions: D 55 x H 39 cm Material: Textile upholstery, Wooden frame, foam. Weight: 9.5 kg Also available in different colours and f...

DS-1025 Sofa by De Sede Design: Ubald Klug Dimensions: D 91 x W 156 x H 70 cm Materials: SEDEX upholstery with wadding cushion. Stable, compact frame made of beech and board mater...

The living room set is composed of a Nuvolone modular sofa (with six modules) which can be arranged to your liking. The sofa and the tables present a polyurethane foam upholstered s...

Superb and exclusive pair of two seat Mohair Velvet 'CALIFORNIA' sofas freshly reupholstered with Italian luxury Mohair Velvet fabric from Dedar Milano with inset stainless steel bases by Parisian high society designer Jacques Charpentier. This plush mohair pile...

Sumptuous and extremely rare 'lady' living room set designed by Marco Zanuso for Arflex ,Italy in 1961. The set consists of a super rare and extremely elegant , three seat elliptical form, 'Lady' sofa ,the largest size produced complete with a matching pair of very early (artisan wood frame) production 'Lady Chairs '. Please note the coffee table is not included with this set. This set has been recovered in an extremely elegant high quality 'Musco' 00 mohair fabric by the famous Dutch textile manufacturer 'De Ploeg' . The fabric creates a warm luxurious organic glow as the mohair pile...

Soriana ottoman, designed by Afra and Tobia Scarpa, and produced by the Italian manufacturer Cassina in 1969. Re-upholstered with brown velvet. Winner of the “Compasso d’Oro” prize i...

Counter Chair Gropius CS2 Designer: Kateryna Sokolova Model in the main picture wool, Woolland-64. Dimensions: Height: 88 cm / 29,13 in Width: 57 cm / 22,44 in Depth: 57 cm / 22,44...

Living room set composed of a Nuvolone modular sofa (with six modules) and a large coffee table (with storage units) which can be arran...

Sesann dining room set, designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. It is composed of a two-seater sofa and two armchairs. It features...

'Aqueduct' sofa by Poiat. Setup 1. Dimensions : H. 77 cm x W. 264 cm x D. 162 cm (SH 40 cm). Aqueduct collection 2022 by Timo Mikkonen & Antti Rouhunkoski. upholstery: Chivas...

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...

'Aqueduct' Sofa by Poiat Setup 1 Dimensions : H. 77 cm x W. 264 cm x D. 162 cm (SH 40 cm) Aqueduct collection 2022 by Timo Mikkonen & Antti Rouhunkoski Upholstery: Larsen - ...

'Aqueduct' sofa by Poiat Setup 2 Dimensions : H. 77 cm x W. 332.5 cm x D. 162 cm (SH 40 cm) Aqueduct collection 2022 by Timo Mikkonen & Antti Rouhunkoski Upholstery: Chivasso - Yang 95 Plinth: Low Plinth...