Europe - Living Room Sets

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 ...

This armchair and ottoman makes a beautiful statement in any room with its timeless design and exceptional craftsmanship. Designed by the renowned Arne Vodder and produced by Komfort...

A historic living room set from around 1890. Furniture in very good condition, after professional renovation. The armchairs and the sofa were covered with a new fabric. Dimensions:...

Iron Design Award Winner for Furniture Design at the A’Design Award Competition 2023-2024 Silhouette is a surreal reminiscence of a woman’s sensual curves that arise designed in an ...

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...

We are delighted to offer for sale this stunning very rare handmade in England fully restored Bordeaux leather Gentleman's club suite with hand turned legs ...

Cadiz Sofa is a postmodern style sofa with curvilinear shapes that makes a statement without renouncing comfort. The sofa sculpture has a wavy backrest that is a perfect abstraction ...

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...

DS-57 armchair by De Sede Dimensions: D 60 x W 90 x H 69 cm Materials: base in solid beech in black lacquer, SEDEX upholstery with wadding cushion. Armrest: moulded foam with wa...

Mid-Century Modern Italian B&B "Alanda" two-and-a-half-seat white leather sofa by Paolo Piva with adjustable back pillows and armrests, 1970s. The sofa shows wear due to age and use...

Unio 3 - Seaters sofa by Poiat Designers: Timo Mikkonen & Antti Rouhunkoski Collection UNIO 2021 Dimensions: H. 72 x W. 200 D. 72 SH. 40 Model shown: Cat 1. Chivasso Yang 9...

Frederic daybed by Collector Materials: Structure in solid oak wood. Upholstered in genuine Sequoia 4003 leather. Dimensions: W 190 x D 90 x H 50 cm D...

This set of two armchairs was manufactured by the German Thonet manufacture during the 1970s. The frame is made of chrome-plated tubular steel. The chairs are made by plywood and covered with black synthetic leather. The minimalist form adds elegance, and the contoured seat improves comfort during use. Both pieces have manufactory labels. Thonet is the oldest existing furniture company in the world. It began its long business in 1819 when the carpenter Michael Thonet founded a furniture workshop in Boppard, Germany. A supporter of the Biedermeier style, he specialized in chairs, tables and cabinets characterized by clean lines, reduced ornamentation and an emphasis on the principles of functionalism. In the 1930s, Thonet's experiments with glued and steam-bent wood furniture...

This unique and gorgeous modular sectional sofa from the 70ties is manufactured in germany. It has slightly curved design. The Sling shape is made of vegetal leather with fine deta...

Mario Bellini “Le Bambole” 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 bag contain...

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...

DS-1088 sofa by De Sede Price per module Dimensions: D 92 x W 92 x H 39 cm Materials: SEDEX upholstery covered with wadding. Compact frame made of panel materials and strapped t...

CONE CHAIRS by Verner Panton for Gebrüder Nehl with the original fabric in pink and a stainless steel base. The seats have been reupholstered and covered with a high-quality fabric i...

1970 Italian Living Room Set in Orange Velvet and Minimal Steel armchairs height cm.65, depth 75, width cm.96 , seat height cm.40

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...

- Czechoslovakia, around 1970s - beautiful space age design - dimensiosn of chairs : height: 80cm, depth: 67, width: 63cm - the set is predestined to be newly upholstered in new tex...

Those chairs were produced by Drevopodnik Holesov in the 1970s in former Czechoslovakia. Frame made of oak veneered bent plywood. Woodwork is kept in original, good condition. Uphols...

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

Burke Maurice design years '60 for Arkana British prod. set of four chairs tulip good vintage condition for the entire set and no every cushions for all material is metal, acryl...

Pair of splendid "kiitos" model seats, production of Giuseppe Rossi di Albizzate on a design by Tittina Ammannati & Gia...

Set of eight chairs model Cobra with chromed tubular steel structure and seat in black padded leather, designed by Giotto Stoppino, in the 1970s. This set perfectly fits with our Gi...

Black leather couch and 2 armchairs, Germany 1960s. This set of seats made of genuine leather is in a good condition with traces of use according to its age. Dimensions: Armchair -...

Styled Round Table With Upholstered Chairs Circa 1950 A living room set consisting of a round table with four chairs. The set, dating back to the 1950s, is styled in the Biedermeier...

Very rare and amazing sofa set by robin day for hille. 4 Seats and one table can be combined like you want it. one 3 section base (221cm) and one 2 section base (142cm). A very rare ...

Chic set of six lounge chairs, would look stunning in a bouclé but work equally well with their ultrasuede upholstery.

One of a kind seating set completely re-upholstered and restored. Cushions filled with goose feather's. 17 meter's of green relief velour was use...

Børge Mogensen Spanish chair in oak and natural tanned leather. Executed by Fredericia Furniture and Dahlman Saddlers, Copenhagen.

Mid Century Modern white metal vintage seating group or garden furniture, which were designed and executed by Stanislaus Karasek an...

Afra & Tobia Scarpa "Soriana" Sofa for Cassina, Burgundy Velvet, Italy, 1969. Although technically designed in the 1960s, the "Soriana" model by the Italian duo Tobia and Afra Scarp...

Set of four original chairs from the 70s, made in the style of Pierre Cardin, entirely in wood with upholstery on the seat and back Avion blue color, polychrome fabric. They me...

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...

This amazing living room set with a 3-seater Sofa and 2x lounge chairs model DS31 were designed in the 1960s by the De Sede design team and produced by De Sede in Switzerland in the ...

Part of a living room set comprehensive of a two seater sofa and a large stool, this beautiful and stylish three seater sofa has been designed and manufactured in Denmark in the 1940...

A Vintage Living Room Set, which can also be used outdoors, hand-crafted in Italy during the 60s in Cane and Rattan. This set consists of a pa...

B.Tri like be three (literally "being three") is Bruno Rainaldi's destructed armchair conceived to be ready to accommodate a single person but also to be as an unconventional talking...

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...

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...

Unio Curved sofa by Poiat Designers: Timo Mikkonen & Antti Rouhunkoski Collection UNIO 2021 Dimensions: H. 72 x W. 220 D. 110 cm SH. 40 (3 seaters) Model shown: Cat 3. Hanoi 04 b...

Wery good original condition with a pleasant patine of age. Museum-quality condition! Solid, can be used normally. The seating was designed by Arch. Gustav Siegel between 1926 and 19...

We are delighted to offer for sale this fully refurbished, George Smith Norris three piece sofa and pair of armchairs upholstered in Mulberry Flying Ducks...

Set of wicker and oak chairs. They are not exactly the same. When joined together they form a small wicker bench. The backrest is composed of a series of ...

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.

Underpinned by a Minimalist and sophisticated aesthetic of clean lines. Comfy Sofa designed by Collector Studio. Dimension: W 300cm 118” D 110cm 43” H 65cm 25,6” SH 40 cm 15,7” Pr...

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...

Beautiful rattan set made of a sofa and 2 large armchairs. High quality, good condition, rare. Sofa 137x80x90 h cm Armchairs 80x80x90 h cm

Very rare secession seating group used in Otto Wagners Vila in Wien. Original vintage condition with signs of use.

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...

Experience the fusion of wood and fabric from the 1970s, with this exclusive living room set by Mobilgirgi. The set is composed of 1 sofa (depth: 83cm x width: 210cm x height: 80cm) ...

Early 19th-century salon with a suite of four armchairs, two bergères and a sofa in carved mahogany, decorated with gilded bronze mounts and chased in relief with scenes from Roman h...

A freestanding 3-seat manufactured by Thonet, Austria, in late 1930s or early 1940s. The design is attributed to Josef Frank. This comfortable and handmade seette is made of warm ton...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning fully restored antique circa 1900-1920 Bergere Suite which has been fully restored and newly u...

Stunning sculptural ABCD set, designed by Pierre Paulin for Artifort in 1968. This amazing set consist of one 2-seat sofa and two 1-seat sofa's. The sofa's are composed of three...

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...