Italian Living Room Sets

Rare set of 4 "VillaBianca" chairs design by italian master Vico Magistretti for luxury brand Cassina. This Amazing set Is perfect for 80s lovers, Memphis style, plastic space age ro...

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 pair of carved wood armchairs from Italy, 1940's. Beautiful carved wood arms and wood frame with original dark stain showing grain. Original finish shows great age and patin...

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...

Two-seater “Mantilla” sofa, designed by Kazuhide Takahama for Studio Simon in 1973. It is made of wood and polyurethane foam structure, with white velvet upholstery. Kazuhide T...

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...

Magnificent 8 pieces modular sofa, Saporiti Italia 1970s, completely renovated and reupholstered with the highest quality Italian leather.

Set of modular armchairs and poufs in brown corduroy, mod. Camaleonda designed by Mario Bellini for C&B Italia in 1970. The set consists of 8 elements: - 5 armchairs (cm 71H x 65...

Timelessly iconic Le Corbusier LC2 set of 2-seater sofa and armchair in chrome tube steel and black leather. The LC2 was designed in 1928 by Le Corbusier; his cousin and colleague ...

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...

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...

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...

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...

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...

Splendid three-seater sofa made in Italy in the 70s. The seat is very comfortable and supportive. The pads are still original and in very good condition. Original natural leather uph...

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...

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...

A plush pair of vintage "Coronado" lounge chairs with footstool in lovely original top-grain light brown leather designed by Afra & Tobia Scarpa for B&B Italia. Gorgeous Italian leat...

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...

Pair of 19th C Venetian hand-painted armchairs and stool with traces of the original paint showing through. 1880. Stool dimensions: 20.5"W x 15"D x 17.5"H Chair dimensions are be...

Vintage Sofa Set by Saporiti, Italy 1950s. Original upholster, very rare to find in the set armchairs + sofa. Armchairs 70 x 84 x 94 cm each; Sofa 1...

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...

Set of 3 Italian Mid-century Modern Wooden and Green Velour Chairs, 1948 Coveted set of 3 chairs in perfect shape, beautiful details on the wooden structure and precious cushioning in great conditions. BBPR was a studio of architects, urban planners and designers, composed by Gian Luigi Banfi, Lodovico Barbiano di Belgiojoso, Enrico Peressutti and Ernesto Nathan Rogers. Founded in Milan in 1932, the studio was a vivid part of the debate of the modern movement, becoming one of the leading exponents and masters of the Italian design. The first important intervention project was designed in 1946, after the war and the loss of Banfi: the planning of the reconstruction of Milan. At the IX Triennale in Milan, when the birth of Italian design (1951) began, they organised the exhibition “The shape of usefulness” (with Francesco Buzzi Ceriani and Max Huber...

Modular system that can be use as a sofa, bench or other options designed by Charlotte Perriand in 1953. Relaunched by Cassina in 2004. Manufactured by Cassina in Italy. A modular ...

Sala da pranzo in radica di noce, stile Vittorio Dassi 1950/1960 Tavolo ovale con 6 sedie, 2 mobili buffet con specchio con decori dorati Misure: Buffet piccolo: H con specchio 145 x...

Contemporary Set of Seating 'Isola' by Amura Lab Designer: Lucy Kurrein Model shown: Textile - Daino 01 Dimensions : - Armchair : H. 67 x W. 96 x D. 99 cm - Ottoman : H. 45 x W....

Borsani Tecno Pair of P38 armchairs covered in fabric. Manifacture, Borsani, Tecno 1950s. .

Contemporary Set of Seating 'Isola' by Amura Lab Designer: Lucy Kurrein Model shown: Textile - Ortisei 01 Dimensions : - Sofa : H. 67 x W. 220 x D. 99 cm - Ottoman : H. 45 x W. ...

Rare Soriana chaise longue by Afra & Tobia Scarpa for Cassina, Italy, 1969 It's reupholstered in a beautiful plum textured fabric. The original foam is in very good condition and s...

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

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...

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...

Mid-Century Modern Italian three seat sofa with gently curved front and scrolled top. Sofa has 3 loose seat cushions, tight button tufted seat back and brass legs Covered in Holly Hu...

Modular seating system " Malitte" by Roberto Matta for Gavina, Italy, 1960s - new upholstery.

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...

An Italian living room suite from the 1920s comprising a sofa, a pair of armchairs and a pair of ottomans. From the early Art Deco period of Northern Italy, in walnut and ivory velve...

Made in Italy, 1940s. This piece is ascribable to Gio Ponti for Casa e Giardino for its incredible design. The fabric is from the 60s and in excellent original condition. This loung...

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...

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 ...

Cormor sofa by Delvis Unlimited Dimensions: D 102 x W 240 x H 78.5 cm Material: black oak, upholstered in velvet. The Delvis Unlimited brand consists of limited-edition furniture...

Living Room Sets midcentury Design Cherry Wood Minimal Mad in Italy 1950s Sofa height cm.84, width cm.114, depth cm.75, seat height cm.46.

Milanese architect Luca Scacchetti designed the Hydra Castor line for Poltrona Frau in 1992; its upholstered components came in a variety of silhouettes from clean-lined to baroque. ...

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

In the manner of Gio Ponti. Very comfortable set upholstered in velvet. Very elegant and clear lines.

Set of six Chiavari model “Gobbetta or Three s” chairs. Sturdy and versatile chair. Particular care was given to ergonomics. The seat was restored by a renowned artisan from the lowe...

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...

Amazing set composed of 2 bamboo and leather armchairs and a coffee table. This fantastic set was designed by Tito Agnoli in Italy during the 1960s. The armchairs feature a sturd...

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...

Safari Imperial sofa, design by Archizoom Associati The famed, ultimate Pop Art sectional pod sofa!! In all the 20th C design history books!! The Safar...

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

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...

Magnificent space age sofa Model SuperOnda with curved and eccentric lines. Designed in 1967 by the radical Florentine Archizoom group for Poltronova, it is the first sofa without a ...

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...

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...

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...