Franz Fertig

Studio sofa by Kristian Sofus Hansen & Tommy Hyldahl for Nor11 Setup 5 (1x small,1x medium,1x large, 1x corner, 2x ottoman, 2x ottoman classic, 3x armrest): L230-280cm & 220cm / P96...

Pair of vintage 3-seater sofas in chocolate leather by Tito Agnoli from the 70s. The pillows are filled with feathers, the interior lining is marked poltrona Frau Dimensions: Length...

Pristine Florence Knoll sofa for Knoll International. Upholstered in gorgeous Sina Pearson fabric. Florence Knoll was a pioneering designer and entrepreneur who created the modern look and feel of America’s postwar corporate office with sleek furniture, artistic textiles and an uncluttered, free-flowing workplace environment. To connoisseurs of Modernism, the mid-20th century designs of Florence Knoll, were — and still are — the essence of the genre’s clean, functional forms. Transcending design fads, they are still influential, still contemporary, still common in offices, homes and public spaces, still found in dealers’ showrooms and represented in museum collections. Ms. Knoll learned her art at the side of Modernist masters. She was a protégé of the German-American architect Ludwig Mies van der Rohe and Eliel Saarinen, the Finnish architect and teacher and the father of the architect Eero Saarinen. And she worked with the renowned Bauhaus architects Walter Gropius and Marcel Breuer. Throughout her career, influenced by the German Bauhaus school of design, she promoted the Modernist merger of architecture, art and utility in her furnishings and interiors, especially — although not exclusively — for offices. In the 1940s, she married and became a business partner of the German-born furniture maker Hans Knoll, and over 20 years she was instrumental in building Knoll Associates into the largest and most prestigious high-end design firm of its kind, with 35 showrooms in the United States and around the world. While her husband handled business affairs, Ms. Knoll was the design force of Knoll Associates. It grew to become the leading innovator of modern interiors and furnishings in the 1950s and ’60s, transforming the CBS, Seagram and Look magazine headquarters in Manhattan, the H. J. Heinz headquarters in Pittsburgh and properties across the United States, Europe, Asia and South America, including American embassies. Her “total design” favored open work spaces over private offices, and furniture grouped for informal discussions. It integrated lighting, vibrant colors, acoustical fabrics, chairs molded like tulip petals, sofas and desks with chrome legs...

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...

Pristine Florence Knoll Sofa for Knoll International. Upholstered in gorgeous Sina Pearson fabric. Florence Knoll was a pioneering designer and entrepreneur who created the modern...

This rare two-seater Grace sofa was produced by the Swedish company IKEA in 1961. The softly rounded shape of the frame, where the backrest smoothly turns i...

An exciting example of French design firm Maison Jansen’s commissioned pieces. This sofa is made from solid mahogany, lacquered in a rich dark brown and bronze–golden finish. The res...

Curved vintage sofa designed by Gigi Radice for Minotti, Italy 1950s, black lacquered iron legs, brass feet, in the original fabric, excellent cond...

Pristine Florence Knoll Sofa for Knoll International. Upholstered in gorgeous Sina Pearson fabric. Florence Knoll was a pioneering designer and entrepreneur who created the modern look and feel of America’s postwar corporate office with sleek furniture, artistic textiles and an uncluttered, free-flowing workplace environment. To connoisseurs of Modernism, the mid-20th-century designs of Florence Knoll, were — and still are — the essence of the genre’s clean, functional forms. Transcending design fads, they are still influential, still contemporary, still common in offices, homes and public spaces, still found in dealers’ showrooms and represented in museum collections. Ms. Knoll learned her art at the side of Modernist masters. She was a protégé of the German-American architect Ludwig Mies van der Rohe and Eliel Saarinen, the Finnish architect and teacher and the father of the architect Eero Saarinen. And she worked with the renowned Bauhaus architects Walter Gropius and Marcel Breuer. Throughout her career, influenced by the German Bauhaus school of design, she promoted the Modernist merger of architecture, art and utility in her furnishings and interiors, especially — although not exclusively — for offices. In the 1940s, she married and became a business partner of the German-born furniture maker Hans Knoll, and over 20 years she was instrumental in building Knoll Associates into the largest and most prestigious high-end design firm of its kind, with 35 showrooms in the United States and around the world. While her husband handled business affairs, Ms. Knoll was the design force of Knoll Associates. It grew to become the leading innovator of modern interiors and furnishings in the 1950s and ’60s, transforming the CBS, Seagram and Look magazine headquarters in Manhattan, the H. J. Heinz headquarters in Pittsburgh and properties across the United States, Europe, Asia and South America, including American embassies. Her “total design” favored open work spaces over private offices, and furniture grouped for informal discussions. It integrated lighting, vibrant colors, acoustical fabrics, chairs molded like tulip petals, sofas and desks with chrome legs...

This two-seater sofa model 3330 was designed by Arne Vodder for the Danish manufacturer Fritz Hansen during the 1960s. A museum piece, rarely available for sale, especially in the two-seater version. This sofa is upholstered in high-quality amber brown natural leather. Spacious and comfortable pillows are loosely placed. The wide armrests resemble the shape of a wing. The legs are made of black lacquered steel. Perfect proportions, Scandinavian craftsmanship with a clearly marked line of furniture due this project timelessness. The traditions and philosophical assumptions of Danish craftsmanship have been translated into a modern furniture idiom. Vodder was born in Denmark in 1926. Trained as a carpenter and architect, he studied with Finn Juhl at the Royal Danish Academy of Fine Arts in Copenhagen. After school, he worked as a designer in Hindsgaul, focusing primarily on office decor. In 1950, Vodder founded his own architectural and design studio with architect Anton Borg. Over the years, the studio moved to several locations in Copenhagen before finally settling in the suburb of Holte, north of the city. Vodder and Borg worked together until the 1970s. Vodder is best known for its furniture designs that were usually simple pieces consisting of natural materials such as rosewood and teak. His designs were often inspired by natural forms. Vodder collaborated with respected brands, designing furniture for manufacturers such as Fritz Hansen, France & Søn, Nielaus, Sibast, Kircodan. In the 1950s and 1970s, Vodder furniture designs were used by President Jimmy Carter at the White House and President Anwar Sadat in Cairo, and were incorporated into the United Nations Office in Geneva and graced many hotels, banks, and embassies around the world. His works have been widely presented both individually and in collective exhibitions with artists such as Verner Panton and Nanna Ditzel. Fritz Hansen, also known as the Republic of Fritz Hansen, is a Danish furniture design company whose history begins in 1872 in Nakskov. From the very beginning, Fritz Hansen and his son Christian placed emphasis on the high quality of their furniture, which is their hallmark until the present day. The long list of orders in the first fifty years of the company's operation confirms this. At the beginning of the 20th century, Christian Hansen began experimenting with the steam-bending of beech wood, and in 1915 he created the first laminated chairs, which became the company's specialty. Arne Jacobsen completely dominated the 1950s in the company. He started working together in 1934, but his breakthrough came when he created the Ant laminated chair in 1952. The next projects: Series 7 (1955), Swan (1958) and Egg (1958), which were designed for the Royal Hotel in Copenhagen, became milestones in the history of Fritz Hansen and are still produced today. This sofa is in original vintage condition. It has a natural patina and traces of age, leather scrapes, pigment changes, traces of repair on the seat. The seat is 39 cm high. Literature: Catalog of Fritz Hansen, April 1968, page 72. Mobilia Magazine...

STUDIO sofa by Kristian Sofus Hansen & Tommy Hyldahl for Nor11 Measures: Setup 4 (1x large, 1x corner, 1x medium, 2x armrest): L 230-190cm / P 96cm / H 70cm / Seating H 42cm Modula...

Set of velvet sofas comprising two two-seater sofas and two single armchairs. Stamped SAPORITI. Seat height: 38 cm. Width of the single-seater armchairs: 90 cm. Length of the 2-seate...