Velvet Sofas

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...

Marzio Cecchi; Italian design; Italy; Glam; Hollywood Regency; Blue velvet; Brass; Post-modern; Firenze; Italian glam couch newly reupholstered in blue vel...

Rare Italian design modular sofa, 1970s in brown velvet. The sofa is modular and made up of four armchairs. Busnelli brand present on each armchair. The measurements indicated are fo...

Sofa designed by Gigi Radice for Minotti. Made with solid wood structure and light gray velvet upholstery and polished brass legs. The sofa is authentic, only the upholstery has been...

'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...

A small sofa with a pleasant shape, design and elegance, restored with a good petrol green velvet.

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 ...

Sesann Sofa by Gianfranco Frattini for Cassina , Italy, 1970s A reissue of a historic design by Gianfranco Frattini, Sesann is a collection of sofas and armchairs with soft, cosy fo...

Wonderful vintage light blue velvet sofa made in Italy by Isa Bergamo from the 1950s. The sofa is made entirely of light blue velvet and takes...

This is modular Italian sofa from the 1970s, upholstered in a lush green velvet, features a series of individual, plump cushions that create a continuous seating line, each supporte...

Modern day obsession with Mid-Century design wouldn't exist if not for the momentous efforts of Florence Knoll. The most significant chapter in Knoll’s life was spent devoted to her ...

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...

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...

Mantilla sofa by Kazuhide Takahama for Simon Gavina. The Mantilla's name comes from the mantle which covers it. The idea comes from the memory of protecting the furniture of holiday ...

Airborne, by. Green velvet sofa bed, rectangular in shape. French work realized in the 1970s. Dimensions: H 58 x L 190 x P 90 cm Reference: LS47...

1970s, Danish 2-seater sofa. Original very good condition: no smells, no stains, and stable construction. Light green furniture velour, beech wood legs, springs in the seat. Manufact...

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...

Imposing brown velvet American sofa embodies elegance and comfort in perfect balance. circa 1950s-60s. The recently refreshed velvet envelops the frame with its soft and refined text...

Italian modern Three-seater sofa Cornaro by Carlo Scarpa for Simon Gavina, 1980s Iconic and vintage three-seater sofa mod. Cornaro with round section structure in black painted solid...

Very sleek Danish midcentury sofa. Refurbished and covered with navy blue cotton velvet upholstery. Four rosewood conic legs.

Restored and rich camel velvet upholstered, tall back Art Deco sofa. The tall and deep channel back, with and slight scoop, sets off the incredible silhouette of this piece. The pair...

Sofa in Ash Legs with Original Velvet Mohair Fabric by Flemming Lassen, 1940's Additional Information: Material: Ash legs with original velvet mohair fabric Style: Mid century, Scan...

Directional biomorphic curved velvet sofa.

1960s, Danish design by Kurt Østervig for Rolschau Møbler. 3 seater sofa, model 57, in original very good condition: no smells and no stains. Original light green furniture velour, t...

This Paradiset sofa from the Triva collection was designed by Kerstin Hörlin-Holmqvist in 1958 and manufactured by Nordiska Kompaniet (NK) in Sweden. The characteristic Hörlin-Holmqv...

Beautiful two-seater sofa in Italian velvet from the 1970s Space Age period. The Italian sofa is made of dark orange textured velvet fabric. Its lines are very rounded with soft and...

“Soriana” three seat velvet sofa by Afra and Tobia Scarpa from Italy, 1969. The Post-Modern sofa was manufactured by Cassina and features three front metal clamps. The Soriana collec...

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

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

Mid-Century Modern Italian three-seat flamingo pink velvet "Coronado" sofa by Tobia Scarpa for B&B. Project from 1960s The sofa can come as a living room set together with its pair ...

Rare two seater Swedish mid century modern curved sofa in style of Otto Schultz. The dark green velvet upholstery appear to be original ...

Robert Haussmann RH 302 3-seat sofa manufactured by Hans Kaufeld. This sofa is the first early production for Hans Kaufeld and then later manufactured by De Sede. Features elegant ch...

1950s, Danish 2-seater sofa. Cherry-red furniture velour, ash wood legs, brass springs in the seat. The sofa was reupholstered about 10 years ago by craftsman. Very good condition: n...

Set of 2 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. ...

Ico Parisi was an Italian architect and designer, born in Palermo in 1916. His activity, marked by continuous experimentation, consists in an incessant research in the fields of arch...

Green velvet vintage element sofa made in the 1970s. Dimensions: Width: 236 cm Depth: 89 cm Backrest height: 88 cm Seat height: 38 cm

Mario Bellini "Camaleonda" modular sofa for B&B Italia, blue petrol velvet, Italy, 1970, set of two. “Camaleonda” is an icon, rediscovered. It was one of the truly modular sofa desi...

The rounded, sloped back gives this piece a jolt of Italian midcentury glamour. Designed by Federico Munari in Italy in the 1960s, the sofa seems t...

Matching pair of lounge chairs also available and sold separately (see last pic). This incredible sofa was purchased new in Glasgow, Scotland in 1970. We acquired from the original owners who kept it 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, often misattributed to Ib Kofod Larsen. The "Tulip" design is demonstrated by the rosewood panels which are molded into curves that mimic a blossoming flower. Offered almost exclusively in teak, this rosewood set is truly a rare find. The rich, amber-red panels are perfectly complimented by the chrome hardware and velvet fabric. The luxuriously soft velvet is in amazing condition. The color is difficult to describe, but in our opinion, it's a cross between olive-green and taupe-brown. Of course the refraction of light on velvet can magnify or minimize the tones and highlights depending on the angle and environment. The sofa hovers on its original Magnum Orbit chrome...

Edward Wormley for Dunbar, c.1960s, USA, two-piece sectional sofa. The sofa features split arm rests and an exposed sculpted ebonized wood frame. This sofa has been fully reupholster...

This elegant, sculptural, scalloped design sofa gives beauty and charm in any room in your house, been reupholstered in red velvet and feet been replaced to original brass feet. Ital...

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...

1970s, Danish 2 seater "Banan" sofa in original very good condition: no smells, no stains, stable construction. Original cherry-red furniture velour, beech wood legs, springs in the ...

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...

This exquisite modular sofa set by Adriano Piazzesi combines comfort, sophistication, and iconic 1970s Italian design. Upholstered in plush blue corduroy fabric and accented with sle...

1960s, Danish 2 seater sofa by Fritz Hansen. Very good condition: no smells and no stains. Sofa was reupholstered about 20 years ago by craftsman. Green furniture velour. Renewed bee...

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 ...

Beautiful curved Federico Munari sofa, in blue velvet. Iconic piece of Italian design.

Cornaro 300 sofa designed by Carlo Scarpa. Solid hardwood structure (iroko). Polyurethane padding. Upholstery in original chenille velvet. The one-unit side and back cushion is fast...

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...

Neoclassical bronze sofa recently reupholstert in rust color velvet ( City velvet collection CarluccI - JAB ), feat cushions, two bolsters available. Designed by Jaques Quinet-Franc...

Spectacular sofa produced by MDF Italy in black velvet and steel from the 90s.The sofa of MDF was made with precious materials.The beautiful velvet sofa has a very particular shape, ...

Three-seater white velvet sofa with metal and brass, Digamma model designed by Ignazio Gardella for Gavina in 1957. The extraordinary elegance of the Digamma three-seater sofa, created in 1957 by Ignazio Gardella for Gavina, is revealed through a surprising combination of materials and futuristic design. The carefully crafted metal structure supports the upholstered part of the sofa, creating a perfect balance between form and functionality. The distinctive signature of Ignazio Gardella, a renowned designer and visionary engineer, is evident in the curved brass terminals on which the sofa gracefully rests. His architectural conception, bridging art and design, is reflected in every detail of this unique piece. The Gavina brand introduced the Digamma collection in 1957, ushering in a new approach to seating that goes beyond traditional forms of sofas and armchairs. The series, of which this extraordinary sofa is a part, features square and rational volumes, demonstrating an exceptional level of innovation for its time. Today, the sofa is in excellent condition, meticulously restored in upholstery and adorned with a light-shaded velvet covering that enhances its intrinsic beauty. Its dimensions of 197x82,5x81 make it ideal for comfortably accommodating three people, offering a seating experience that combines style and comfort without compromise. A functional work of art, Ignazio Gardella's Digamma Sofa...

A stunning 20th-century vintage Italian three-seater sofa designed with beautiful curves, fully, expertly restored with new light blue velvet upholstery and foam padding. Italy 1950's ------- We are an exhibition space and an online destination established by the passionate art...

Blurring the lines between mid-century modern and Victorian styles, this high-back sofa is a perfect fusion of eras. Upholstered in luxurious green velvet with classic tufted detaili...

Beautiful two-seat curved sofa manufactured in the 1950s. Lovely shape and curves. Very comfortable seat with two feather cushions covered of blue Kvadrat velvet. Perfect condition,...

1960s, Danish 2 seater sofa in original very good condition: no smells and no stains. Cherry-red velour and beige furniture fabric. Removable double-s...

Sofà Mid-Century Italian design velvet and brass, Isa Bergamo production. The velvet is original from its 1950s and below it has a photo that has been rep...