European Living Room Sets

This newly reupholstered pair of club chairs by Claudio Salocchi for Sormani, circa 1970s, features graceful chrome frames with nubby white bouclé fabric. Signed with 1960s/ 1970s Sormani label as shown in photo gallery. *Note, we have the matching sofa available in another listing. The graceful frames share a design quality with Cassina's LC2 / LC3 design by Le Corbusier, as they are 'buckets of cushions' in similar fashion and comfort. However these Sormani lounge chairs feature some unique subtle details, such as the slight "twist" in the rear legs (see photos). Signed with a Sormani label, this particular rare design is attributed to Claudio Salocchi. While there were several other famous designers who created works for Sormani in this time period, the style best matches Salocchi's work. For collectors looking for something unique and rare within a collection of 1960s/ 1970s Italian designs, this pair of easy chairs are an amazing opportunity. These Cassina LC2 / LC3 style chairs...

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...

Stunning sofa, Bergeres, Italian Rococo style carved and gilt, Satin Brocade, set of 3! Pair of Italian Rococo style carved bergeres, each having a parcel gilt and paint-decorated pierce carved crest rail surmounting the cabachon back, custom upholstered in cream satin brocade, leading to rolled arms, centering the drop-in seat cushion, the whole rising on a similarly carved and gilt apron and cabriole feet, 45.5" height x 41" width x 28" depth, seat 22" height. This set of three Italian Rococo style furniture is an excellent addition to any living room or parlor. The crest railed custom upholstery cabachon back sofa and chairs, matching set, are crafted from gilt wood, cream satin brocade, and paint decorated with a parcel gilt finish. The seating area with conversation area cream colored chairs...

An extraordinary Ensemble ivery carefully restored by an artist carpenter.

This living room set is a typical example of furniture design of the 1970/1980´s in the former Czechoslovakia. The furniture is very comfortable. It consists of one sofa and two arm...

This incredibly comfortable Le Corbusier for Cassina 'LC2' three-seat sofa (authentic signed and earlier year production example with low number production number stamped on the fram...

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...

Early rare midcentury livingroom set composed of one lady-chair, one highback reading chair, attached neck pillow, and one sofa. Beautifully sculpted teak frame and original amber-or...

just beautiful SET of Sofa & 2 Wingback Armchairs by Prof. Karl Nothelfer - Designed in 1957 maker: Schörle & Gölz in Stuttgart - Bad Cannstatt solid Cherry Wood new upholstery and fabrics in 1998 according to last owner ( since then just in use for 2 years so upholstery is perfect ! ) Seatrests can be removed - and fixed by clips on belts - high class - measurements: easy chair is 70cm wide ~ sofa is 178cm wide both: seating height 40cm ~ seating depth: 57cm condition - all firm and in very good condition - no damages furniture have fully been accurately cleaned :: - 3 steps: A: air pistol - B: industrial hoover - C: latest Kärcher "wash&hoover" technology - woods have been polished several times note: please ask for shipping quote by sending us your postcode/destination Prof. Karl Nothelfer * 14 June 1900 ~~ + 20 May 1980 Since the beginning of the 15th century, the Nothelfer family of carpenters has been continuously resident in the former town of Überlingen without interruption. Every carpenter at that time mastered all the possibilities of woodworking: so did the Nothelfer. They could carpenter, even carve altars and figures, and set them in gold, silver and paint. (churches in Owingen and Hödingen]. Some family members lived and worked and worked in Hedingen or Hödingen,like today the jubilarian Karl Nothelfer (this in 1975). His father, Karl Anton Nothelfer, as the eldest of seven siblings, was able to take over his father's carpentry business in Überlingen. Karl Anton Nothelfer, the eldest of seven siblings, was unable to take over his father's carpentry business in Überlingen. He instead moved to the industrial town of Singen with his young wife Rosalie, née Hanner, from the from Hohenzollern in 1896 and moved to the former Poststraße and founded his own carpenter's workshop. He had a highsense of quality and form and was already a member of the German Werkbund before 1914. Karl Nothelfer and his three siblings grew up in such air. After attending school and the secondary school in Singen, the young Karl learned the carpenter's trade in his father's workshop then moved on to the Badische Landes-Kunstschule in Karlsruhe, where he studied architecture. At that time the well-known furniture professor also worked there Fritz Spannagel, born in Freiburg in 1891, who settled in 1938 at Ittendorf Castle near Meers- burg (died 1957). In 1928, the gifted young architect received a teaching assignment at the at the Karlsruhe School of Art, but followed his teacher Spannagel to Berlin in the same year. Berlin. Here he worked from 1928-1945 as a teacher - appointed professor in 1931 - at the Berlin Tischler-Schule, the later Bauschule für Raumgestaltung. The furniture he created in Berlin became internationally known through many exhibitions and lectures. nationally known and influential. His furniture creations ushered in a new era in German and a new era in German and European furniture design. At the world exhibition in Paris 1937 Prof. Nothelfer was awarded the Golden Medal for his work in the furniture sector. for his work in the furniture sector. A first summary and balance of his work on furniture is given in his standard work 1942 published standard work "Das Sitzmöbel", the first compendium of its kind in the world. world. In 1950 he published his second work "Furniture". Both books and a series of brochures were published by Verlag Otto Maier, Ravensburg. Karl Nothelfer continued to work intensively on the design of seating furniture in the years after 1945. In 1950 he succeeded in the important invention of the two-legged skid-base chair, which has been orthopedically - anatomically tested thousands of times - has become accepted all over the world today. Even the most distinguished American furniture companies such as Miller or Knoll-International use the skid as the main theme for desks and chairs. At the same time, N. had a groundbreaking in the redesign of German school furniture and seating for industry. industry. He succeeded in adapting his furniture forms, which originated in wood and handicraft, to the modern technical modern technical possibilities of the industry. He thus became the great refor- of schoolroom furnishings. The architect Nothelfer thinks about himself, that he made his main contribution in the field of seating furniture, although this was not was not really his profession. After the war, Prof. Nothelfer, like so many others, had to start all over again. He settled settled in his home town of Lake Constance in Hödingen in 1945 as a freelance architect and was and was involved in all areas of construction in the years after the war. As early as 1935, he had given many the example of American prefabricated buildings and recommended serial house and recommended it at a time when no one in Germany was even thinking about mass production. Now he developed he developed several types of mass-produced houses, which were manufactured in Baiersbronn. of which more than 800 houses were built in France alone (types Paris, Provence, Normandie). were built. At that time [1946], as part of the reparations in Strasbourg, there was an exhibition of houses with Swedish, Danish, and French designs. with Swedish, Danish, Finnish, English and German houses, where the French occupation for which 6 different types were sent from the French occupation zone, the Nothelfer's house type was considered the top of this exhibition. Karl Nothelfer was also involved in the development of chipboard. In 1946, together with others in Munich, he founded the first magazine "Bauen und Wohnen" ("Building and Living") after the war and remained its co-editor for many years. co-editor of this magazine for many years. By presenting his own work, he has here interpreted what the essence of the magazine wanted to be: Building, in order to live in it, in order to live as a human being and humanly in the built. Karl Nothelfer planned his houses furniture ground plan, from the need for living. In 1948 he was appointed honorary senator of the State Building school in Holzminden. Karl Nothelfer did not build much in Singen. The first post-war house was Haus Fahr on the slope of the Hohentwiel (Domäne); the building material came from a demolished log house that a French officer had built for himself on the Schie- nerberg. nerberg. In 1952, he also built the administration building of the aluminum rolling mill in Singen. rolling mills in Singen, with relief and wall painting by C. G. Becker. In Überlingen he built In Überlingen he built, among others, the Buchinger Sanatorium, the Riese+ Hähnel radio house and various reconstructions in the old town: Haus Kitt with the Glockenspiel, the Haus mit dem Bacchus in the Überlingen village, the Dolphin Fountain in Hödingen (1975). Probably the most beautiful Haus Nothelfers, the Haus Himmelheber, stands in Baiersbronn-Tonbach. On the airfield Mengen, Nothhelfer built the casino building with the 30 square meter faience painting Ikarus by C. G. Becker. In 1954 he founded a second office with architect Hans Schwingen in Düsseldorf. Office, which primarily fertilized the housing construction, true to the motto:from the inside to planning from the outside. The Minister of Housing awarded a prize to the best social housing in North Rhine- Westphalia; it was from the Nothelfer+Schwingen studio in Düsseldorf. Also the idea of new idea of home ownership was also promoted by Nothelfer+Schwingen. promoted by Nothelfer+Schwingen. On the occasion of the red jubilee of the law about condominium ownership Nothelfer gave a lecture in Essen in 1961 on condominium ownership in Europe (published as a brochure). published as a brochure]. From Düsseldorf, among many others, in the silk city...

Lace cream daybed by MOWEE Dimensions: D200 x W195 x H60 cm. Material: Polyethylene, stainless steel and polyester. Weight: 60 kg Also available in di...

Counter chair Gropius CS2 Designer: Kateryna Sokolova Model in the main picture Wool, Woolland-64. Dimensions: Height: 101 cm / 29,13 in Width: 57...

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...

Complete living room with curved sofa and pair of armchairs, design Gigi Radice for Minotti Arredamenti, early 1960s Mustard yellow color the sofa measures 240 cm in length (fr...

Complete old vintage Liberty living room set: 6 chairs, 2 armchairs, 1 sofa, 1 console with mirror and 2 shelves, all richly carved with period floral motifs and precious original brocade fabric, made in Italy in the middle of the 1900s. Lots of material, which can also be divided into several rooms, in full Art Nouveau style. Measures: chairs cm w 45 x H 84 x P 40, armchairs cm w 68 x H 100 x P 70...

Beautiful set of two armchairs with a coffee table. Sold as a set with all three pieces. The set was designed by Karin Mobring for Ikea in 1970s. The beautiful design is made of squa...

Charming Antique Salon Set, Austrian, Inlaid, 5-Piece Set, Settee with 4 Chairs!! Beautiful curved lines! Neutral upholstery color! Great pieces for the parlor or your living are...

Designed By Studio Marelli Dimensions: 2 Square Elements - 39.4" x 39.4" x 16.1" 2 Rect. Elements - 39.4" x 27.8" x 16.1" 2 Central El...

Peter Ghyczy's exceptional 2-seater sofa from the 1970s is an incredibly rare and truly unique piece. Also referred to as the "Fehlbaum sofa". Finding this particular sofa is a rar...

Haven Olive pouf by Warm Nordic Dimensions: D57 x H 40 cm Material: Textile upholstery, Foam, Wood. Weight: 9.5 kg Also available in different colours a...

Art Deco French Style Three Piece Sofa Suite, recently restored with new cushioning and soft velvet fabric. These pieces are very comfortable which makes this set a pleasure to own and use. The wood framing has been restored as well. The color is soft light teal/gray and would fit perfectly into any Art Deco setting. The craftsmanship is outstanding with all pieces finished using a matched gimp on both the outsides and insides of all 3 pieces. A loveseat and two armchairs, the wood tone is warm medium mahogany brown. We love the lines of Art Deco sofas and chairs...

Afra & Tobia Scarpa “Soriana” three-seater sofa for Cassina, original brown leather and chromed steel, Italy, 1969. Although technically designed in the 1960s, the "Soriana" model b...

BIG BIG CHAIR Armchair and Little Big Pouf Signed by Kristian Sofus Hansen and Tommy Hyldahl for Norr11. Models shown on the picture: - Big Bi...

This is a classic original corner suite consisting of a three seat sofa, and a two seat sofa with matching corner two tier table. All produced in finest q...

Little big armchair + little big pouf Signed by Kristian Sofus Hansen and Tommy Hyldahl for Norr11. Model shown on the picture: Fabric: Sheepskin...

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...

Pair of bistro chairs in the style of Thonet chairs with curved wood. Indeed Michael Thonet worked enormously on the development of the technique...

Set of Italian Mid-century Rattan Bowl Chair with side table and magazine rack This set of rattan furniture was manufactured probably in the 1950s in Italy. It consists of a captiv...

This living room set was designed by Anna and Carlo Bartoli and produced by Rossi di Albizzate, Italy, 2000s. The set is upholstered in fabric and features rigid plastic feet. With ...

Brutalist set of chair and writing desk, maple, Europe 1960s Beautiful and naturalistic set consisting of a writing table and chair made in Europe in the 1960s. The chair features ...

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...

A very fine French 19th century Louis XV style three-piece giltwood carved and silk Aubusson tapestry three-piece salon suite, comprising of a settee and two fauteuils (armchairs), the Aubusson silk...

Pair of Italian organic modern bamboo armchairs with original floral cushions from 1960s The armchairs are n the style of Franco Albini, Paul Frankl, McGuire and they are in really ...

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

Black secession seating group by Fischel in original vintage condition with signs of use.

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...

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...

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

This spectacular Pallas lounge set was designed by the Swedish designer Svante Skogh in 1954 and is a rare example from the repertoire of modernist design. The Pallas set was designe...

Pair of rare original 'Cabinet Chairs' by Josef Hoffmann handmade circa 1980s by Wittmann Austria. Designed in 1903, for the Vienna home of Dr. Salzer, Josef Hoffmann's cabinet chair...

The I.S.A. (Industria Salotti e Arredamenti) manufacture also known as ISA, ISA Bergamo and ISA Italia was founded in the late 1940s near Bergamo in Ponte San Pietro. It produced a s...

Ciottolo #1 Seat by Imperfettolab Dimensions: D 580 x W 90 x H 50 cm Materials: Fiberglass. Also available in different dimensions and colors. Please contact ...

Beautiful complete Italian luxury Louis Philippe style 1930s living room set includes: 1 sofa 2 armchairs Refined living room set in beech wood. The...

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...

Sofa and seating set , 1920s hand-carved walnut. Original upholstery in excellent condition. Periodo del design 1920 - 1949 Production Period 1920 - 1929 Country of Manufacture Italy...

Pair of White Lacquered Rattan Armchairs Lined on the Sides with Cushions

Pok stool 2 by Antoine Maurice Dimensions: D 30 x H 50 cm Materials: Walnut Born in 1992, Antoine Maurice lives and works in Yvelines. He trained in drawing at an art school an...

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...

We are delighted to offer for sale this exquisite original circa 1920’s Art Deco fully restored Chesterfield club sofa which is part of a suite This sofa is very stylish, it has t...

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...

This pair of lounge chairs, ‘model 137’ designed in 1957 and manufacturerd by furniture manufacturers France & Son. The Japan serie takes inspiration from traditional Japanese building techniques. Defined by a visible, solid horizontal backrest, which sits elegantly upon the slightly tapered legs, the teak frame is a reference to a traditional Japanese temple door, with brass brackets and details. With an open, spacious seat, finished with Bouclé upholstery, the Minimalist design truly invites you to sit back and relax. A stunning addition to a contemporary living room, the Japan Lounge Chair...

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...

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...

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...

A vintage Mid-Century modern Swedish adjustable armchair or high back recliner with an ottoman, made of hand crafted polished Beechwood, designed by Folke Ohlsson and produced by Dux...

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...

Mr Olsen 3 seater Oak Mosaic Royal Blue by Warm Nordic Dimensions: D201 x W79 x H 78/46 cm Material: Textile upholstery, Foam, Spring system, Solid oiled oak legs, Solid smoked oak...

Eight wrought iron chairs in very good condition. Profiled round legs with central bracing. The applied seat is removable and could be relatively easily reupholstered, depending on t...

Salotto realizzato in ebano riccamente intagliato composto da coppia di sedie, scrittoio, coppia di poltrone e divano decorati con mascheroni, figure antropomorfe alate e pinnacoli d...