Velvet Sofas

Designed for ballrooms, grand entries and other spaces requiring "forever" sofas, this piece is entirely customizable in length and sectional breakdown. Consider for commercial proje...

Modern L sectional with inside curve and button pillows. Recessed platform base. Tight seat and rounded inside back rail (with curve) that's soft enough fo...

A custom-made new edition of this classic love-seat sofa by Danish designer and cabinetmaker: Alfred Christensen. This re-edition is produced under license in Sweden by Dagmar and av...

This incredible set was purchased new in Glasgow, Scotland in 1970. We acquired from the original owners who kept them in pristine condition. Designed by K.M. Wilkins for G-Plan of England, this line is appropriately named the "Tulip Group". Wilkins also designed the the well known Housemaster Chair...

Sofa wall with wood structure and capitonated. Covered with red velvet. With wooden feet. All handcrafted. Also available with blue or green velvet.

Inherently sophisticated and intriguing! For your consideration is a sleek and stylish long sofa designed by Milo Baughman for Thayer Coggin, circa 1970s. Elegant from every angle-his best sofa design. Dripping with style makes this sofa a versatile choice to heighten the elegance of your living room...

Pink Sofa is an original designer's furniture realized in Italy in in the half of 20th century, and attributed to Paolo Buffa. An elegant pink velvet sofa crescent shape (radius d...

Three-seat velvet sofa, Reupholstered, circa 1940, Italy. Very good vintage condition.

The extremely rare collection is statement piece which is also extremely comfortable and packed with personality! Just look at the gorgeous tufted quilted design and curves on this b...

Beautiful three seater in the original purple velvet upholstery, by Annie Hieronimus for Cinna, a division of Ligne Roset, France 1970s. This incredibly comfortable, yet lightweight ...

This unique and particular Louis XVI style dog's bed, was produced in Italy. The wooden part is white lacquered and it is upholstered with a fine white velvet.

Sofa butterfly large made with solid mahogany wood structure. Upholstered with high quality red velvet fabric or customer fabric on request. Also available with different structure...

Rotation, turning, return – these are the meanings of the Spanish word Vuelta. The backrest rotates playfully around the corner, becomes the armrest, continues on to the sitter - or ...

Two-seat button tufted sofa by Levy Carlson’s Möbelafärr from circa 1952. Reupholstered in slightly shiny light beige/grey velvet. Lightly curved back. Legs made of stained beech.

Sofa, model 211 by Børge Mogensen for Fredericia Stolefabrik 1956. Early production 1950s. Made in solid oak. We cleaned the sofa to preserve its old patina and got new straps, new c...

This rare modernist lounge set was manufactured by the Swedish manufacturer Holm Fabriker AB in the early 1960s. It consists of a four-seater sofa and an armchair. It was finished wi...

Italian sofa in the style of Gio Ponti for Casa e Giardino, 1950s. Dimensions: H= 82 cm; W= 160 cm; D= 65 cm; H seat= 45 cm.

This 3-seat sofa made by Frits Henningsen in the 1930s reflect Frits Henningsen's preference for classical forms in order to deliver on his commitment to quality and craftsmanship. W...

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...

Sofa, velvet, brass, Italy, 1950s This gorgeous sofa is an iconic example of Italian design from the 1950s. Organic and sculptural, this sofa is anything but minimalistic. Equipped ...

Scarlet Armchair, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. Scarlet puts a modern twist on the traditional armchair...

Midcentury sofa or loveseat in the style of Marco Zanuso, original light purple velvet fabric (a discolored mark on the seat). ETRA design. Bronze, front and back feet. The structure...

One-seat sofa kingdom upholstered and covered with red wine cotton velvet fabric with matte vintage brass base and with golded polished nails.   

1960s, Danish "Spanish" sofa in original very good condition: no smells and no stains. Cherry red furniture velour, ash wood legs. Double-sided seat cushions with springs inside. Man...

TIMELESS STRUCTURE MADE FOR COMFORT Made-to-order by masters of their craft, the Classic Sofa is fully upholstered, featuring sloped scrolled arms, an...

'Banana' shape, 50's couch. Newly reupholstered in a green color, velvet fabric. The back and seating have new foam. As a square the couch is measured W230xD116xH76cm. As the shape i...

This is an incredible, unique, one of a kind piece made in the early 19th century Spain. Crafted out of solid walnut, features hand turned legs, beautiful walnut back panels, with wrought iron stretcher bars on the bottom. Exquisite liquid velvet upholstery fixed with a gorgeous nailhead trim across the top, further embellished with an embroidered coat of arms...

Sofa Lander with solid wood structure, upholstered and covered with high quality blue velvet fabric Cat 1. Available in: L 250 x D 95 x H 70cm, price: 7900,00€. L 225 x D 95 x H ...

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

English Art Deco Small Two Seat Sofa C.1930 Of neat proportions, having been recently upholstered in a duck egg blue cotton velvet. England, C.193...

This one-of-a-kind four seat sofa with no arms was designed by Joaquim Tenreiro and manufactured by Tenreiro Moveis e Decoraçoes in the late 1950s or early 1960s. The sofa features a...

This two-seater "Triennale" sofa was designed by Marco Zanuso in the 1950s and manufactured by Arflex in Italy. The upholstery is covered in pink velvet fabric, which shows slight si...

Mirage sectional sofa in velvet. Sofa seats and sides with double stitching in polyurethane foam wrapped in down feather. Legs and metal trims on the armrest in satin black nickel s...

Forest 3-seat sofa with plush velvet by Marcantonio, is a comfortable three-seat sofa with an array of cushions in a variety of velvets. The colour and fabric of the upholstery can b...

This Mid-Century Modern inspired sofa (known as "The Carlton") was hand built at our studio in Norwalk, Connecticut. The three cushioned sofa features sleek track arms and firm loose...

Grete Jalk (1920-2006) was a Danish architect and furniture designer known for her contributions to the mid-20th-century design movement. She studied architecture at the Royal Danish...

Lady Marco Zanuso style sofa. The sofa has been restored and upholstered in blue velvet, the feet are in beech wood. The two armchairs are also available Immediately after the ...

Beautiful pair of armchairs and curved sofa designed by Federico Munari in the early 1950s. The upholstery has been redone in velvet. The sofa measures cm: W 147 x D 85 x H 87 x S...

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.

A sofa with a welcoming and comfortable look, emphasized by the mattress conformation of the seat. Refined details such as the polished brass tips of the basement and the roll cushio...

A black-lacquered iron, rattan and green velvet sofa designed and produced in the US, 1950.  16.5” seat height

Cluedo Sofa is a curved modern sofa upholstered in velvet, with surprising side table marquetry details incorporated. A luxury sofa offers a modern vibe to any contemporary living ro...

An Art Deco satin birch sofa with fluted arms and paw feet. Upholstered in buttoned cotton velvet.

Sofa new castle with solid wood structure in aged golden leaf finish with glossy varnish. Upholstered and covered with redwine cotton velvet fabric. Also ...

This is superb, immaculately-presented “250 Met” 3-Seat sectional, compact L-Shape Sofa, from the world renown Italian furniture house of Cassina. In a world of temporary pleasure...

Taichiro Nakai rare freeform sofa for La Permanente Mobili Cantù, steel and velvet, Italy, 1954. Talented Japanese designer Taichiro Nakai is mainly known for participating in and ...

"Verlaine" is an elegant and sensuous sofa, designed by Lievore Altherr and manufactured by Driade, with a polimex and MDF structure, different densities polyurethane foams padding a...

The central sofa "O Vulcano" with its sweet profile invites us to choose the right posture, living down like in a chaise-longue or sitting like on a norma...

Mid-century modular sofa in a 60s fabric. Consist of five sections with curved shapes. Good vintage condition with minor wear.  

Iconico divano modello ‘P20B Toro’ disegnato nel 1973 da Luigi Caccia Dominioni per Azucena. Seduta degli anni ’80 in ottime condizioni con tessuto originale di un meraviglioso verde...

Pianura lounge chair, designed by Mario Bellini and manufactured by the Italian brand Cassina in 1970. It features a brown velvet upholstery and a solid walnut structure. Excellent...

Vintage Thayer Coggin directional black velvet sectional sofa. Masterfully restored by the artisans at Carrocel in a luxurious black velvet...

The Jade sofa was designed in 2014 by the Atelier Linné collective. It is a reception sofa that can be ordered in firm or soft comfort. The base is available...

Beijinho 4-seat sofa, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Beijinho leather sofa seamlessly combines the soft texture of high-quality leather...

This 1960s Knoll Era sofa in stunning Emerald Green Performance Velvet is rich in color and texture. With a broad, geometric structure, the sofa is ...

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...

Poppi Armchair, Modern Collection, Handcrafted in Portugal - Europe by GF Modern. With an elegant design inspired by the eternal surroundings of bohemian life, Poppi armchair exudes...

Pierre Guariche for Burov, 'Monaco' sofa, velvet, stained mahogany, France, circa 1960 Pierre Guariche (1926-1995), a multi-talented French designer, interior decorator, and archite...