Continental Europe - Living Room Sets

Tito Agnoli for Arflex, modular sofa model '9000', in teddy fabric re-upholstery, Italy 1970s. This model is marked by showing infinite possibilities to customize its use accordi...

This refined pair of vintage armchairs dates from the 1960s and is an emblematic example of the elegance of Italian design of that era. Made of walnut wood by fine Italian manufactur...

Soriana three seater sofa, designed by Afra and Tobia Scarpa, and produced by the Italian manufacturer Cassina in 1969. Re-upholstered with brown ve...

Rare set consisting of an armchair and a small table designed in the mid-40s by giuseppe pagano pogatschnig for gino maggioni, for the Bocconi university in Milan. structure in cu...

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...

Very nice lounge group designed by Sigurd Resell in Norway during the 1970s. Four loung chairs in leather and wood with a glass table. Flat box packing available.

Exceptional Saratoga set designed by Massimo and Lella Vignella, produced by Poltronova, Italy 1960s. A beautiful living room set composed of two sofas (three-seater/two-seater) and...

Beautiful Set of six Biedermeier board chairs from Vienna, Austria, circa 1830. Wonderful bright cherry veneer (shovel) and solid wood (frame and legs). Book-matched cherry veneer o...

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.

Matta was born in Santiago, Chile, on November 11, 1911, to a family of Spanish, Basque and French ancestry. After studying architecture, he moved to Paris in 1934, where he worked w...

Galore module pouf grey melange by Warm Nordic Dimensions: D 75 x W 75 x H 44 cm Material: Textile upholstery, Powder coated black steel legs, Wooden frame, foam, spring system. W...

This rare set consisting of two armchairs and a matching stool were produced by a Danish cabinetmaker in Roskilde in the mid 1950s. The design of the armchairs is marked by the sligh...

Large bench, wood, Italy, 1960s This remarkable large bench, crafted in Italy in the 1960s, exemplifies naturalistic design. Sculpted from a single slab of wood, the bench showcases...

Rare complete Italian luxury Louis XVI style living room set includes: 1 large sofa 2 armchairs 4 chairs Refined living room set in lacquared wood. The living room comes from an ...

Gae Aulenti; three-seater; Arcata; Poltronova; Italian Design; Italy; 1968; walnut; burgundy leather; Mid-Century Modern; Three-Seater 'Arcata' by Gae Aulenti, walnut and burgundy...

Mid-Century Soriana Seating Set by Tobia & Afra Scarpa for Cassina, 1970s

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...

Introducing an impressive French modernist living room set from the 1950s, featuring a versatile three-seater sofa that converts into a day bed, accompanied by two lounge chairs. Bot...

Beautiful and rare pair of lounge chairs edited by Grosfillex Designer Albert Jacob: Lounge chair (Seat height 38 cm) in ABS with cushions in brown woven ...

Armchairs, rosewood, Brazilian design, European execution, 1960s. The sofa set is still in the original upholstery fabric. Altogether a very good condition. This settee is execute...

Four-legged structure made of solid beechwood, brown-stained; stool with applied textile added at a later date; professionally restored; signs of age and use; on the underside compan...

This living room set model modular sofa was designed by George Nelson for Herman Miller. This set was completely re -upholstered in high premium cognac Natural leather. It has a soft...

Set composed of a sofa and two armchairs covered with a light brown fabric bouclette. Parallelepipedic wooden legs and full straight armrests. Dimensions sofa : H. back : 86 cm ;...

sofa height cm.88,width cm.140, depth cm.80, seat height cm.40.

Italian Country Living Room Set in Solid Oak with new Bouclé Upholstery, 1970s Beautiful set in country style, consisting of 2 lounge armchairs with two matching ottomans, which can...

Brown ARCH 3 Seater Sofa in Oak and DAW/Mcnutt Upholstery by Mazo Design Dimensions: W 200 x D 79 x H 76 cm Materials: Oak, Textile Also Available: 2 Seater Configuration, ROMO/Linar...

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...

Very exclusive new domestic landscape, pebbles cushions, a high-quality surrealist set. Oversized pebbles, a resting area with varying sizes and shapes that can be arranged according...

This absolute unique and gorgeous modular sectional sofa from the 70ties is manufactured by LÜBKE & ROLF from Rheda in Germany ( later was the Name LÜBKE KG). From the same family...

Rare lot of four chairs, probably a drawing by eugenia alberti reggio and rinaldo scaioli, originals from the 1960s made of curved plywood on a metal frame with joints between the...

Set of four Italian design chairs from the 1960s, elegant production, made of wood, probably walnut, with bottle green skay upholstery they measure 100 cm in height, 45 cm in widt...

This set of three Italian armchairs was designed in the 1950s. The design is by Melchiorre Bega. What is special about the set is that all three chairs have a different design but st...

Exceptional Saratoga set designed by Massimo and Lella Vignella, produced by Poltronova, Italy 1960s. A beautiful living room set composed of two sofas (three-seater/four-seater), a ...

Complete living room with a pair of armchairs and a three-seater sofa, Scandinavian production of the 1960s. Structure in maple wood with seat, backrest and armrests in fabric, details and joints in brass. In excellent condition. Dimensions: sofa w 160 x d 80 x h 75 – seat h 43 cm armchairs d 80 x h 75 x w 70 – seat...

Mid-Century Modern French armchair with original velvet fabric by Gérard Guermonprez, 1970s. Wear consistent with age and use (see photos attached). This armchair can become a set ...

Newly upholstered. Wooden parts have been refurbished. The dimensions of the sofa: Height 76cm, seat height 46cm, width 153cm, depth 69cm. The dimensions of the chair: Height 76cm...

Unio Curved sofa by Poiat Designers: Timo Mikkonen & Antti Rouhunkoski Collection UNIO 2023 Dimensions: H. 72 x W. 220 D. 110 cm SH. 40 (3 seaters) Model shown: Tiger Mount...

Chair Gropius CS1 Designer: Kateryna Sokolova Model in the main picture Calico-29 Dimensions: Height: 74 cm / 29,13 in Width: 57 cm / 22,44 in De...

Vintage Danish Velvet Lounge Chairs, 1940s. Set of 2. Pair of vintage Art Deco curved arm chairs upholstered in golden yellow velvet made by Danish ...

Exceptional matching Camaleonda set in its original coral corduroy. Designed by Mario Bellini for B & B Italia. The “Camaleonda” sofa is Mario Bellini’s contemporary classic. The pl...

Rare two-seat sofa and easy chair model DS-47 designed by design team at De Sede. Produced by De Sede in Switzerland.

A very fine French 19th century Louis XVI style hand grey painted and carved five-piece salon suite, comprising of a canapé, two fauteuils and two chairs, all reupholstered in floral...

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 ...

Livin room set Minimal industrial design of 1950 French perforated black metal scratched. Measures: Width cm.69, depth cm.53.

Dining or center table, marble, Italy, 1960s This exceptional dining table, crafted in Italy during the 1960s or 1970s, is a testament to the era's dedication to pure, timeless desi...

Counter stool Lavitta 65 by Poiat Designers: Timo Mikkonen & Antti Rouhunkoski Lavitta 2020 Model shown: Dark oak Dimensions: H. 65 x 50 x 44 cm The latest member of the L...

Living room set, France, circa 1870. Very good condition, after renovation and replacement of upholstery. Wood: oak dimensions : sofa height 100 cm seat height 39 cm width 171 cm...

The four chairs date from the Biedermeier period, circa 1820. The chairs are solid and veneered with birch wood. The set is in very good condition. The chairs are newly upholstered a...

DS-748 sofa by De Sede Dimensions: D 95 x W 208 x H 76 cm Materials: Sofa seat frame: steel profile. Back and side sections made of panel materials. Recamier and corner element: s...

This living room set is a typical example of furniture design of the 1970/1980´s in the former Czechoslovakia. The furniture is very comfortable. It consists of one sofa and two arm...

French Empire three-piece suite. Made of mahogany wood. Completely restored, new upholstery included. Surface was done by shellac polish. Sofa dimensions: Height: 92cm Seat h...

This pair of easy chairs exudes quality and personality from all angles. The basic Scandinavian furniture design principles are all present, with a functional, simple base at the cor...

Kaare Klint freestanding three-seat sofa on eight-legged, profiled mahogany cross-frame. Sides, seat and back upholstered with patinated red leather. Model 4118. Executed by Rud. Ras...

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...

Cassina presented the Sesann system by Gianfranco Frattini in 1970. The project included an armchair, a two-seater, a three-seater sofa, and a coffee table. Its standout feature is a...

Cape Lounge chair with Stitches Minty Grey by Warm Nordic Dimensions: D95 x W84 x H 80 cm Material: Textile upholstery, Wooden frame, Powder coated black steel legs Weight: 36.5 k...

Unio loveseat by Poiat Designers: Timo Mikkonen & Antti Rouhunkoski Collection UNIO 2021 Dimensions: H. 72 x W. 150 D. 72 SH. 40 Model shown: Cat 1. Chivasso Yang 95 The Unio Collection, featuring an armchair and sofas, opens a new chapter for Poiat Studio & Furniture, with a focus on new furniture forms and textures. Offering a view of new and upcoming while at the same time acknowledging past decades’ influences and nostalgia, Unio Armchair combines comfort and contemporary design. The armchair has a fully upholstered plywood frame, commercial grade foam, and a solid ash plinth. The single-seater armchair...

Gaetano Pesce created La Michetta as a fun conversation between his ideas, skilled artisans' work, and the people who use it. La Michetta is inspired by a simple bread from Milan cal...