Fabric Sofas

Lovely shaped Sofa from early 20th mid-century. The sofa is attributed to both Otto Schulz and John Kärnhagen on different occasions. The sofa can be bought as is, or custom orde...

Blob Modular Sofa by Carlo Bartoli, italy, 1970s - New Upholstery dimensions : - 68 W x 72,5 D x 68H cm -With armrests : 73,5 W Seat height : 33

This comfortable three-seater sofa “Susanna model” was designed in the 1950s by Oiva Parviainen and manufactured by Lahti Lepokaulusto. The sofa is presented on a minimalistic elegan...

Mid-Century Modern Italian Sofa, Beige boucle Fabric, 1960s New Upholstery

Crafted by the renowned master Percival Lafer in 1970, this exceptional piece of furniture boasts a striking and comfortable design. Its clean lines and unique details, such as elega...

Mid-Century Modern Italian seating set "Zingaro" - original upholstery. Sofa : 160 x 90 x 63 cm Amrchair : 93 x 90 x 63 cm.

Mid-Century Modern Light Pink Italian Sofa, 1950s, New Upholstery

Sleek and midcentury scaled the Melia sofa is stylish and hip. The sofa can be customized to your liking with plenty of fabric colors and options to choo...

With its iconic lines, features for which it was shortlisted for the XXVI Compasso d’Oro, the T33 sofa is presented by Officina Della Scala, winner of the ADI Design Index 2019 as ex...

Rare curved sofa attributed to Paolo Buffa, circa 1950 walnut, original gold velvet, iron very good original condition Measures: 145.5 x 60 cm height 94 cm height seat. 41 cm.

This unique midcentury design sofa/daybed / Lounge chairs with a table in between is incredibly versatile and minimal! A beautiful functional design because this piece of very cool...

Atlantis sofa from the 1960s, produced in Czech Republic - at the moment they are unique. Due to their dimensions, they perfectly blend in even in small apartments . Space-saving p...

This sleek, playful, and beautifully proportioned Mid-Century Modernist Channel Form Cloud Sofa in Holly Hunt Fabric is by the esteemed furniture company A. Rudin and originates from...

Mario Bellini "Camaleonda" modular sofa for B&B Italia, Italy, 1970, four elements. "Camaleonda" is an icon, rediscovered. A special project made possible this limited edition of "...

Edward Wormley Dunbar Tuxedo Sofa in Great Plains, Wool Velvet "Dreamer Marigold" Sofa was stripped down to frame with new foam and reupholstered. Dimensions: 94" length 34" deep 29"...

Big Modular sofa by G.Rossi From 1970 Dimensions : 266 x 520 x 79 cm. Dimensions of a module : 79 x 75 x 100 cm. Seat height : 45 cm.

Wonderful Milo Baughman for Thayer Coggin semi-circular sofa. This piece will certainly need to be reupholstered but Oh the possibilities! This is a one piece sofa so it is a whopp...

Marvelous Mid-20th Century Mid-Century Modern Henredon Modified Lawson style sofa with original yellow & beige striped fabric, 3 loose seat cushions with Poly wrapped feather down in...

Stunning limited vintage TOGO in its original ‘liberty’ velvet. From its first owner (1979). Exceptional condition. Designed by Michel Ducaroy for Ligne Roset France & sold bij Aèra...

Impressive W&J Sloane tuxedo sofa. Large 4 seat sofa with wood base detail. Fantastic period upholstery. Bolsters and arm rest covers complete the package.

What a stunning, large & matching combination in an exceptional original condition. First owner (1983). An extremely comfortable seating group. A rare find on the market in this c...

Upgrade your living space with the stunning Maison Regain sofa set. This large set surely is an eye-catcher and will beautifully merge comfort and style. Whether you're entertaining ...

Large Mid-century modern sofa designed in the manner of Frederico Munari with generous curves. The sofa has a deep seating and a slopping backrest and arms, that makes it very comfor...

The Flint Sofa is a generously proportioned sofa that excels in comfort. The plush wide-channel tufted cushions are tailored beautifully to interlock with the expertly crafted solid...

New to the foley&cox HOME custom collection is the Warren sofa, shown here. Featuring clean lines and low profile, the contemporary sofa is made with solid wood frame, feather wrap ...

The geometric pattern is amazing! I love the different shades of greens and pinks mixed throughout! This sofa is in good vintage condition without any rips, tears, or stains. The fa...

A 4-piece ‘Pianura’ sofa designed by iconic Italian designer Mario Bellini for Cassina. This sofa features a solid walnut wooden frame which has been refinished. It retains it’s orig...

Foil Daybed is a luxury daybed. Are you looking for a modern sofa whose design won’t perish over time? You found it. Foil’s ergonomic structure and delic...

Modern curved serpentine sofa in orange velvet w gold & wood details Giulia sofa is a modern mid-century style sofa. This luxury sofa pr...

Florence Knoll Mid-Century Modern manner linen upholstered couch, upon four gold-tone metal bracket feet. 31" H x 92" W x 35" D; seat: 19" H. D...

Gorgeous down filled sofa upholstered in Jack Lenor Larsen Primavera velvet with a pair of oversize matching ottomans. This is a huge livi...

Florence Knoll for Knoll International, sofa, model '67A', steel, fabric, United States, design 1958, production 1960s/70s This sofa model 67A is designed by Florence Knoll for Knol...

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...

The iconic Togo sofa, originally designed by Michel Ducaroy for Ligne Roset in 1973 has become a design Classic. This two-piece set can be configured into one large sofa or used a...

Sofa designed by Le Corbusier, Pierre Jeanneret, Charlotte Perriand in 1934. Relaunched by Cassina in 2014. Manufactured by Cassina in Italy. Contemporary and comfortable lines fo...

A timeless Mid-Century Modern style Sofa in the manner of Finn Juhl ( Danish 1912- 1989). The sofa features sculptural shape inspired by the Modern free art. The seat and back of the...

Settee, ash, cane, leatherette, metal, Spain, 1950s. Joyful Spanish two-seater sofa with soft organic lines. This settee features a stained ash frame of which a dynamic grain patte...

Curved sofa, upholstery, Italy, 1960s This sofa bears multiple dynamic features. The shape of the sofa is slightly curved. Four loose seat cushions structure the sofa. Elegant legs ...

Mario Bellini for B&B Italia, 'Amanta' lounge chair, fabric and fiberglass, Italy, 1966. Grand and bulky lounge chair created for comfort. The "Amanta" lounge chairs or modular sofa...

Mario Bellini "Camaleonda" modular sofa for B&B Italia, brown mohair, Italy, 1970, five elements. "Camaleonda" is an icon, rediscovered. First designed in 1970 by Mario Bellini, it ...

The beautiful rare sofa is statement piece which is also extremely comfortable and packed with personality! Just look at the gorgeous lines and curves on this beauty! Bright and vibr...

Mario Bellini “Le Bambole” two-seater sofa for B&B Italia, Mongolian faux-fur, Italy, 1971, set of two. This is a timeless Postmodern design icon. The starting point was a shopping ...

Rare ‘Corbi’ modular sectional sofa by Klaus Uredat for COR, Germany – circa 1972. The Corbi sofa consists of sections with roll cushions. It can be used a...

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

Divano modello "920" di Afra & Tobia Scarpa per Cassina, 1964. Il modello è quello di un divano a due posti comodi. Cuscini e rivestimento rinnovato con tessuto lavabile e antimacc...

Elegant and wide Italian three-seat curved sofa. Circa 1950/60. Soft and comfortable seat. Light beech waxed feet. Perfect condition. Original pieces from the 1950s newly re-upholstered in the traditional way by the best French craftsmen, we used a high quality velvet fabric from Kvadrat Raf Simons' collection and new foams. We can particularly appreciate the work and savoir-faire of our team of upholsterers respecting the original design, using the right proportions and lines as it was designed in the 50's. If needed for a project, we also have the pair of armchairs in stock...

The "Maralunga" set, designed by Vico Magistretti for Cassina, is a classic and iconic collection in the world of Italian furniture. Introduced in the 1970s, the Maralunga sofa is pa...

Ray and Charles Eames were commissioned to design the perfect utilitarian seating for the first international airports in 1962, created for comfort and convenience. For the modern-da...

A sizeable organic black-painted wood and brown beige bouclé fabric sofa designed by Vladimir Kagan and produced by Vladimir Kagan Designs, Inc, US...

Iconic Mid-Century Modern three-seat sofa in bamboo and rattan. This amazing piece was produced by Vivai del Sud in Italy during 1970s. This wonderful hand-crafted sofa has a str...

A vintage parsons 3 piece sectional from the 1970's. It features a boxy clean line design with its original sage tweed upholstery. Overall depth is 37 inches. Recovering is recommended.

Sergio Rodrigues, 'Sheriff' sofa, faux leather, imbuia wood, Brazil, 1960s Comfortable and large sofa by Brazilian designer Sergio Rodriques. This sofa breaths the characteristics o...

A beautiful Mario Bellini Le Bambole sofa, produced by B&B Italia, Italy in the 1970s, newly upholstered in a beautifully soft premium, ivory, pure alpaca fabric. Marked on the under...

This four seat midcentury sofa features comfortable two cushion design complete with unique vintage fabric. Slender Italian style legs giv...

Wonderful sofa from the 1950s. High-quality solid beech wood frame. The sofa can be transformed into a guest bed in just a few simple steps. The original spring core has been reuphol...

Three-seater 1960s sofa with foam padding and new fabric upholstery with enameled metal legs.

The Oriolo three-seater sofa was designed by Claudio Salocchi and is an iconic piece of Italian design. Crafted in the 1960s by Sormani, this sofa stands out with its bold lines and ...

Original ‘Togo’ designed by Michel Ducaroy for Ligne Roset, France 1960’s. This iconic sofa is completely made out of foam and is freshly re-upholstered in a wool blend fabric uphols...