Velvet Sofas

A curved brass and orange velvet fabric sofa designed by Federico Munari and produced by ISA Bergamo, Italy, 1950s. 14” seat height

Very elegant two-seat sofa with wooden structure and padding lined in light beige smooth velvet. In the style of Giò Ponti, italian manifacture from the 1950s. Wear consistent with a...

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...

A stylish Mid-Century Modern sofa designed and manufactured in Italy in the Fifties, brass it's in original patina, wisteria velvet has been recently upholstered, it's a luxurious an...

An Italian sofa in the style of Adriano Piazzesi. Overstuffed silhouette with chrome wrapped detail. Original brown and beige patterned velvet. Reupholstery recommended. Sourced in N...

Mario Bellini "Camaleonda" modular sofa for B&B Italia, velvet, metal and plastic, Italy, 1970, four elements. "Camaleonda" is an icon, rediscover...

There's not a single straight line in this sexy Post Modern Serpentine Sofa upholstered in a rich terracotta velvet and made by Weiman. The...

Reupholstered Mid-Century Modern model 1307 light cream velvet sofa by Paul McCobb for Directional. The couch has been recovered in a gorgeous neutra...

Presenting the remarkable "Mah Jong" sectional sofa, a creation by Hans Hopfer in collaboration with Kenzo Takada for Roche Bobois. This ensemble comprises an impressive total of twe...

Seldom seen 3-seat version of an iconic design by Florence Knoll.

Italian mid-century sofa, velvet, brass and iron, 1950s. Dimensions: H= 87 cm; W= 145 cm; D= 85 cm; H seat= 38 cm.

I adore this sofa - from the 60s we removed the original yellow fabric, streamlined the sewing in this two toned velvet and added custom brass feet. Absolutely darling with good scal...

Mario Bellini "Camaleonda" modular sofa for B&B Italia, velvet, metal and plastic, Italy, 1970, four elements. "Camaleonda" is an icon, rediscover...

This wonderfully large and comfortable Swedish two-seater gilt sofa dates from the 1900s period and is designed in the Gustavian style. The sofa features classic scrolling decoration...

Elegant 20th century knoll style sofa, nice reupholstery using plush Orange-Red material with elegant fringing, the side panels fold down, comfortable seating, nice warm color. G...

Emilio Sala and Giorgio Madini sofa with Tapered wooden legs Italy, in the 1950s. This small sofa with tapered wooden legs and original upholstery was designed by Emilio Sala and G...

If elegance was a sofa, this would be the one. This 1950's Italian sofa has all the right angles and curves in all the right places. Check out the before and during restoration pic...

Mid-Century Modern "Regent" Sofa by Marco Zanuso, Italy, 1960s - New Upholstery

Introducing an exquisite and sophisticated asymmetrical sofa attributed to the esteemed Italian designer, Gio Ponti. Crafted in the early 1950s, this remarkable piece showcases Ponti...

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...

Royal House Antiques Royal House Antiques is delighted to offer for sale this absolutely exquisite, Mohair Velvet George Smith Chelsea Bolster sofa which was owned by Madonna Plea...

On offer on this occasion is one of the most stunning sofa you could hope to find. This is an ultra-rare opportunity to acquire what is, unequivocally, the best of the best, it being...

A classic Italian design upholstered in Sky Blue cotton velvet by Rose Uniacke, a lovely soft velvet. Modular in nature, this set of three large Camaleonda units can be arranged in...

A freestanding sofa model 'Constanze' / 'Constance' with chnromed or nickeled steel and a velvet in a warm neutral tone (beige or sand) designed by Prof. Johannes Spalt for Wittmann,...

Naeko sofa (daily bed) by Kazuhide Takahama, first model manufactured by Gavina, recently covered in linen velvet. Two pieces available. Supporting structur...

Newly reupholstered in mohair velvet in a soothing sand colour, this sofa is a beautiful example of Maison Jansen neoclassicism from the 1960s and 1970s. With inventive, extendable a...

Completely reupholstered sofa In an amazing green velvet. This sofa has all new cushioning and the solid wood frame has been sanded and sealed. This fabulous piece is very comfortable and makes a great statement piece in any home. If you are looking for a quality mid century modern couch, this is it. Designed by a Norwegian designer and crafted by a quality manufacturer. This sofa is truly a statement piece that will look great in a commercial setting or in a home environment. This sofa come from a fabulous estate in Park Slope Brooklyn...

Curved four-seat sofa of Italian design, structure and legs in solid wood, velvet upholstery, 1950s production, Condition as shown in the photos, it is advisable to redo the upholst...

Cornaro 300 sofa designed by Carlo Scarpa. Solid hardwood structure (iroko). Polyurethane padding. Upholstery in original chenille velvet. The one-uni...

Very nice, original mid century original oak spindle back sofa. Seat cushion and fabric are all new. Wood has very minimal marks from age and use. ...

Italian modern grey-blue velvet five module sofa, 1970s Five-module sofa with seat made up of four twin-shaped modules without armrests and the fifth angul...

A gutter back armless sofa on aluminum legs. Designed by Edward Wormley for Dunbar. Fully restored and upholstered in Holly Hunt, Lush, Foggy velvet.

Two seats mahogany, cotton velvet covered sofa in the style of Jean-Michel Frank. France, 1940s.

Two-seat sofa designed by Valeria Borsani and Alfredo Bonetti. Italy, Tecno, 1966. Large sofa upholstered in yellow velvet designed by Tecno's Borsani and Bonetti in 1966. Polished ...

A rare curved black-coated metal and grey velvet sofa designed by Osvaldo Borsani and produced by Tecno, Italy, 1950s. 13.5" seat height

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...

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...

Mario Bellini "Camaleonda" modular sofa for B&B Italia, velvet, metal and plastic, Italy, 1970, three elements. "Camaleonda" is an icon, rediscov...

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...

A curved velvet and lucite "Unicorn" sofa, designed by Vladimir Kagan and produced by Vladimir Kagan Designs, Inc. Model originally designed with metal base, present example is a ra...

A four-seater sofa designed by Ejner Larsen & Aksel Bender Madsen, produced by master cabinet-maker, Willy Beck, and recently reupholstered in a warm primrose yellow corduroy. Lars...

A curved velvet and lucite "Unicorn" sofa, designed by Vladimir Kagan and produced by Vladimir Kagan Designs, Inc. Model originally designed with metal base, present example is a ra...

Iconic Lara sofa designed by Noti Massari, Roberto Pamio and Renato Toso for Stilwood, Italy – 1968. The sofa consists of two pieces that come together in the middle. It is comple...

Divano curvo a quattro posti in velluto blu con piedi in legno, design italiano, anni 50. CONDIZIONI: In buone condizioni, presenta segni d'usura dati da...

A purple velvet and birch sofa, designed and produced by Carl Malmsten, Sweden, c. 1940s.

An early Danish modernist sofa with an organic form similar to works by important architects such as Viggo Boesen, Philip Arctander, Peder Moos and Flemming and Mogens Lassen. Presum...

COD-Z123 Three-seater sofa with wooden base and fabric upholstery. Italian manufacture, 1960's 220 x 90 x h 72 cm - h seat 50 cm

Mario Bellini "Camaleonda" modular sofa for B&B Italia, blue petrol velvet, Italy, 1970, four elements. "Camaleonda" is an icon, rediscovered. First designed in 1970 by Mario Belli...

Lauriana 2-seater sofa designed in 1978 by Afra & Tobia Scarpa for B&B Italia. Eggplant removable velvet upholstery with camel leather piping. Mounted on a steel frame with plastic...

Handsome, Robert Parry designed, mid-century sofa for Gelderland. A formidable talent in many fields, Parry studied at the Royal Academy of Visual Arts in The Hague from 1925 to 2023...

Mid-Century Modern White Grey Orbis Sofa by Luigi Colani, Germany 1970s. Hip three-part lounge set in grey and white designed by Luigi Colani for COR in ...

The Italian 1950s were iconic and innovative especially in terms of seating, this small sofa is an example of Italian creative genius. Among the great masters who designed these mode...

Available now, the VIP sofa was conceived to attend Brazil’s growing market of office furniture in the seventies decade. The sofa fits two comfortably and consists of a fiberglass structure with smooth gray velvet. Not only beautiful and well designed, this piece is also known for its comfort. The base has been refinished and the sofa has been re-upholstered in silky velvet. This futuristic looking sofa effortlessly flexes into any Mid-Century Modern, modern, Danish modern or contemporary environment. This sofa is currently displayed in the gallery with two Ax chairs from Peter Hvidt and looks spectacular. The last two images are vintage publications showcasing the piece Dimensions: H27.6, W63, D33.5 (in) H70, W160, D85 (in) About Jorge Zalszupin a native of Warsaw, Poland, studied architecture at Bucharest’s Ecole des Beaux Arts. While working as an architect in Paris, he found inspiration in articles about Brazilians Oscar Niemeyer and Roberto Burle Marx and immigrated to Brazil. His work as an architect created a demand for decoration and furniture proposals that suited the style of his projects and, for many years, Zalszupin designed and executed them for his clients. The demand was as great as the desire to grow and expand his business, and he then decided to found Atelier Móveis...

Set of three lounge chairs/modular sofa, Italy 1970s, entirely renovated and newly reupholstered in a velvet by Sanderson.

Exclusive Chesterfield sofa with ottoman in beautiful velvet / alkantara look.  

A 1960s Brazilian ‘Costela’ sofa by Martin Eisler + Carlo Hauner for Forma. This sofa features a slat wood frame with subtly curved edges and fou...

In the 1950s, Italian design took a crucial turn from the technical, formal and artistic point of view. Designers took tips from names in contemporary art and architecture like Alvar...

A stunning original Art Deco sofa, with a deep scalloped back and high curved sides, with its original sprung base. Just reupholstered is a soft green v...