Italy - Seating

Set of 6 leather and wood chairs model Monk, Afra & Tobia Scarpa for Molteni, Italy It is one of the most iconic and refined models by the famous Italian architect and designer coup...

Chair Bonacina Tito Agnoli 1950 Bamboo Italian Design Mid-century 1950

"Coronado" lounge chair with foot rest by Afra and Tobia Scarpa for B&B Italia. Chair with headrest and stool fully covered with leather. S...

The Gleaming collection by Lorenza Bozzoli Couture shines in its own light and captures attention with its lustrous allure. The seatings of the signature fringed poufs have been enve...

Pair of Italian armchairs in cherry wood and blue velvet paolo buffa design 1950, elegance and rarity for this wonderful pair of armchairs.

Exceptional pair of rationalist lounge chairs attributed to Mario Quarti, circa 1940 elegant and essential line re-upholstery in white cotton beech wood, cotton fabric, steel Mea...

Pair of LC1 armchairs by Le Corbusier, for Cassina 1970 A piece of design history from Le Corbusier's LC1. The design dates back to 1928. Simple armcha...

Pianura Sofa, Mario Bellini, Cassina, 1970 Condition: Very Good Materials: Wood, Fabric Epoca: 1970 The Pianura Sofa, designed by Mario Bellini for Cassina in 1970, is an iconic ex...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. To r...

Beautiful Cocktail Armchair, inspired by Adrian Pearsal's iconic seat, upholstered with light blue velvet and handcrafted by us with structure in solid wood. It is an object of high ...

Gigi Sabadin “Peota” dining chairs, 1971, set of eight. The Gigi Sabadin "Peota" dining chairs for Stilwood, designed in 1971, showcase the great craftsmanship capacity of the artis...

Danish mid-century modern brown fabric and chromed steel armchairs by Kay Korbing for Godtfred, made in 1960. Armchairs with original fabric in perfect condition and new padding, sat...

Kartell's 4867 are chairs designed by Joe Colombo in the late 1960s. From the space age flavor have numerous design tricks such as the leg cylinder cut in half to make them fit snug...

Memphis Style pair of armchairs Design Postmodern Modernism 1980s. Pair of armchairs with polyurethane foam frame, fabric cover in two shades of pink. The item is in excellent cons...

"Orauro is the transformation of the idea of a sofa. The classic capitonnée (or quilted upholstery) is emptied: only the trace of its folds and of i...

Italian modern white teddy fabric Armchairs Alky by Giancarlo Piretti for Anonima Castelli, 1970s Pair of armchairs model Alky, completely upholstered and covered in white teddy fabr...

Sesann armchairs designed by Gianfranco Frattini for Cassina 1970s, Polyuretane, leather, tubolar chromed steel structure, wooden base. Excellent condition. Reupholster in new vi...

This family of minimalist objects, whose ancestor is Tato, emphasizes whatever is strongly visual and chromatic, without of course overlooking the functional. They are at their best ...

Afra & Tobia Scarpa "925" easy chairs for Cassina, plywood and red leather, Italy, 1966, set of two. In 1966 Afra & Tobia Scarpa designed the "925" chair, realized in walnut and leather. The low chair is inspired by a sketch made in 1943...

An elegant and unique timeless sofa from the early Italian Art Deco period, made of walnut and green velvet upholstery. The rectangular backrest allows the sofa to be placed in the ...

Italian modern Green plastic Chairs Gaudi by Vico Magistretti for Artemide, 1970s Set of 6 iconic and fantastic chairs mod. Gaudi in green plastic ...

Italian modern Black plastic chairs by Charles and Ray Eames for Vitra, 2017 Set of 10 iconic chairs with seat and backrest in curved black monoco...

Heart Throne Chair by Giulia Maria Ligresti Dimensions: D 40.5 x W 41 x H 101.5 cm. Materials: Iron, upholstery. Imbued with vintage flair and artistic appeal, this armchair is anyt...

The set of two rattan armchairs by Lio Carminati, circa 1960, stands as a testament to the enduring appeal of mid-century design and the skilled craftsmanship of Italian designer Lio...

Golia bench by Draga & Aurel Dimensions: W 67 x D 33 x H 44 cm top Ø 50 x 96 cm Materials: Resin top, concrete The Golia benches are featured...

Piero Palange Werther Toffoloni Mod. 993 Dining Chairs for Montina 1960 Set of 6 Rare set of six chairs mod. 993 designed by Piero Palange and Werther Toffoloni for Montina in the 1...

We offer for sale a retro armchair inspired by the English style reupholstered between the 90s and early 2000s with a splendid original fabric by Fornasetti series the "Library". Sta...

Base in plywood. Padding in polyurethane of different densities and acrylic fibre layer. Cover in stretch ecological fur with decorative chain and Visionnaire plate.  

Saratoga è il divano disegnato nel 1964 da Lella & Massimo Vignelli per Poltronova con struttura in legno laccato al poliestere lucido nero e cuscini sfoderabili di piuma rivestiti in pelle cognac. La struttura rigida, realizzata mediante assemblaggio di quattro elementi di uguale spessore, con angoli smussati, accoglie cuscini di seduta leggermente sporgenti. Sono sedute da porre al centro dello spazio in quano dotate di una rifinitura molto elegante anche sul retro. L’essenzialità della forma, abbinata alla precisione del disegno e alla raffinatezza di finiture e dettagli, rende il design di Lella e...

Zanotta Ardea CM Armchair in Red Tegola Upholstery with Black Varnished Oak by Carlo Mollino Base in solid natural or black varnished oak, or in solid natura...

Charlotte Perriand, Pierre Jeanneret and Le Corbusier “LC7” dining chair for Cassina, brown leather and black metal, Italy, 1927 An icon with a versatile and functional soul, the "L...

Gruppo di 4 sedie, con rotelle, struttura in metallo, ricoperta in pelle.

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...

Merging functional aspects with a Pop Art flair, the Locus Solus collection designed by Gae Aulenti marks a significant shift in interior design to reclaim the aesthetic value of out...

The delicate shape of flower corollas inspired this splendid armchair from the Corolla series, stunning in its scalloped lower profile, which seals the contours of the enveloping sea...

This superb armchair is the leather counterpart of the Opus Futura silver armchair and will be a unique addition to a contemporary home, where it will be an eclectic and whimsical ad...

Soriana Three Seater Sofa for Cassina, Italy 1970s. Black Leather, original Cassina Label. Outstanding piece in near perfect condition, with origin...

Abbracci modular sofa.  

The Giò collection has been designed by the company’s internal Research Center. Giò is a collection, in which design and functionality meet. The sofa bed has...

Vivai del Sud armchair Italian design 1970 bamboo black flowers multi-color.

Splendid set of 2 fabric armchairs designed by Luigi Caccia Dominioni for the prestigious manufacture Azucena Italia. The vintage armchairs are made of brown, fuchsia and purple striped fabric, which creates a very colorful geometric effect. The lines are very hard and geometric, wonderfully eccentric. The frame is made of anodized aluminum, shiny silver, which connects to the spectacularly beautiful square, hollowed out feet. The cushions also act as square armrests, very colorful. The armchairs come from the Rome home of Luigi Caccia Dominioni. The colored armchairs are ideal for furnishing eccentric and colorful living rooms.

Create a lush and relaxed vibe with this pouf in two different shades of green. Imbibing any space with a natural appeal, the pouf is upholstered in velvet 100% trevira and wrapped i...

Farnese sofa designed by Luigi Caccia Dominioni, with wooden frame, rubber padding and original velvet upholstery. Bibliography Accademia delle Belle Arti di Brera, “Dino Gavina Ult...

Distinguished by an alluring ensemble of long, cascading fringes, this magnificent pouf will embellish both modern and classic interiors thanks to its timeless elegance. Upholstered ...

Mario Marenco "Sapporo" chairs for Mobil Girgi, patinated cognac leather and beech, Italy, 1970, set of eight. The iconic "Sapporo" chair consists of an individual backrest, conceiv...

Marrying style and comfort, wrought iron furniture combines a vintage look with modern taste. This elegant, romantic loveseat features a zinc-plated powder-coated stainless steel structure and a soft, upholstered, rectangular outdoor cushion...

Set of 4 chairs with chromed steel frames and leather upholstery, designed by Gastone Rinaldi for Rima in the 1970s. When you purchase vintage design products on our website, the c...

Daisy model sofa with wide and comfortable backrest, conical beech foot, good condition of the padding, cushions with springs. The velvet is original from the time but a new upholst...

18th Century, Italian Neoclassical Walnut Wood Duchesse Brisée Armchair This particular armchair, called Duchesse Brisée, was crafted in Piemonte during the Neoclassical period, arou...

Exuding a comfortable and sensual aesthetic, this sofa features a structure in fir, poplar wood and metal, equipped with an elastic belt spring system stretched over a metal frame pa...

Scroll down and click "view all from Seller" to see more than 500 other unique products. This set includes 2 x Cactus chairs. This cactus chair is sui...

Two Mid Century Modern Vintage Wood and Red Velvet Armchairs This pair of vintage armchairs, crafted in Italy in the 1970s are made of solid wood armchairs feature a robust and stur...

This captivating chair, with its sinuous structure and the combination of natural and industrial materials, immediately evokes a sense of nostalgia and a connection with the innovati...

Sink into luxury with this meticulously armchair by Ros Italia Interiors, boasting a sinuous silhouette with a curved seat curling into the armrest and broad swooping back. Crafted f...

To your attention this exquisite and very rare set of three chair with armrests, defined by striking bold sculptural lines and robust structures made of teakwood, masterfully designe...

We kindly suggest that you read the entire description, as with it we try to give you detailed technical and historical information to ensure the authenticity of our objects. Iconic ...

Mid-century velvet armchair Zanuso style Italian design 1950s.

1950s Vintage Living Room Set, in the Style of Gio Ponti for Isa Bergamo This stunning and unique mustard-colored living room set, inspired by Gio Ponti's iconic design, dates back ...