20th Century Living Room Sets

- 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...

Very beautiful vintage living room set from the 70s Brazilian brutalist style in leather and oak composed of a 3-seater living room and two armchairs. Good condition and very comfort...

Modular Gognac color Sofa Model Caprice by Henning Korch, 1970s Discover the vintage charm of the modular sofa set 'Caprice', designed by Henning Korch and produced by Swan in the ...

Offered: this unique old set of 2 club armchairs and a sofa in cognac-colored leather, featuring wood carvings, Queen Anne legs, and wheels on the back legs. A unique opportunity fo...

Designer - Rodolfo Bonetto Producer - Tecnosalotto Model - T/1 Modular Sofa Design Period - Sixties Measurements - 1 Element = Width 71 cm x Depth 84 cm x Height 63 cm x Seat Height...

Matching sofa and loveseat by Bernhardt Furniture Company. Circa. 1970's. Designed in the manner of Milo Baughman. Nice addition to a Hollywood...

Made in Italy, 1940s. This piece is ascribable to Gio Ponti for Casa e Giardino for its incredible design. The fabric is from the 60s and in excellent original condition. This loung...

This is for Allison, one sofa and two lounge chairs. Item Reference LU4154138829682 LU4154138829492 This model” Samspel” sofa was designed by Carl Malmsten in 1956 and manufact...

A historic living room set from around 1900. Furniture preserved in very good condition. Dimensions: Sofa: height 89 cm / seat height 38 cm / width 123 cm / depth 68 cm Armchairs...

Italian modern red living room Marenco by Mario Marenco for Arflex, 1970s Living room composed of two two-seater sofas and an armchair mod. Ma...

A stunning Art Deco pair of armchairs and matching sofa in walnut. They were made in England, they date from the 1920-30’s. The quality is exceptional,...

A stylish and very comfortable vintage French cherry wood sofa and pair of armchairs. They were recently imported from France, they date from the 195...

A remarkable living room set comprising French Art Deco lounge or club chairs, accompanied by a Sofa or Settee. These pieces of furniture effortlessly encapsulate the essence of the ...

Sofa + armchair set, designed by Carl Malmsten, Sweden. Very good condition, after renovation and replacement of upholstery with a new one. dimensions : sofa height 86 cm seat hei...

Soriana two-seater sofa, designed by Afra and Tobia Scarpa, and produced by the Italian manufacturer Cassina in 1969. It features its original brown leather upholstery. Winner of t...

A rare 1940s, curved walnut dining chairs set, designed by Guglielmo Ulrich in the 1940s. Manufactured in Italy in refined Art Deco style. The eight chairs have been fully restored b...

Eight wrought iron chairs in very good condition. Profiled round legs with central bracing. The applied seat is removable and could be relatively easily reupholstered, depending on t...

Made in Italy, 1940s. This piece is ascribable to Gio Ponti for Casa e Giardino for its incredible design. The fabric is from the 60s and in excellent original condition. This loung...

Oriental Lounge Armchairs designed by Michael Taylor from the Far East Side Collection for Baker Furniture with brass accents, low sleek form, and...

Vintage Sofa Set by Saporiti, Italy 1950s. Original upholster, very rare to find in the set armchairs + sofa. Armchairs 70 x 84 x 94 cm each; Sofa 1...

A rare 1950s Art Deco style living room set by Malatesta and Mason. Beautifully made in Italy, the set consists of two armchairs and a two-seater sofa and a curved solid wood coffee ...

We are delighted to offer for sale this extremely well made, vintage Versace Upholstered Italian with silk velvet, Giltwood framed sofa and pair of armchairs suite. A truly stunni...

Roger Moore-era James Bond classic Verner Panton Pantonova system seating . Modular grouping of six pieces . One convex one concave two straight ...

Red lacquered English Chippendale dining set in Japanese style. Dimensions. Tabel;H 30.3" - 77 cm.W 34.6" - 88 cm.D 26.3' - 67 cm. 2 armchairs;H 41.7" - 106 cm.W 27.5" - 70 cm.D 24....

This leatherette modular living room set is a typical example of furniture design of the 1970/1980´s It was made in Western Europe. It can used as a) 4-seater sofa, b) corner sofa ...

This spectacular Pallas lounge set was designed by the Swedish designer Svante Skogh in 1954 and is a rare example from the repertoire of modernist design. The Pallas set was designe...

Lot of four "series 300" chairs, design Joe Colombo for Pozzi, 1965 Made of walnut wood, with original period fabric upholstery in shades of g...

Cet ensemble table et chaises de Boris Tabacoff fait partie des mythes du mobilier Space Age . La base de la table semi circulaire est en chrome massif, le plateau est en marbre vein...

Rare splendid 40s living room, made in the style of Casa & Giardino by Gio Ponti, consisting of a two-seater sofa and a pair of armchairs, wooden structure and upholstery in Cintz c...

Rare, and seriously striking curved three-seat sofa and matching armchair designed in 1960 by Danish designer Johannes Andersen for little-known Swedish company Trensums. This desig...

Art nouveau sofa set Thonet, J/J Kohn, upholstered in genuine leather, designed by architect Josef Hoffmann for the Fledermaus cabaret in Vienna, Austria, completely restored, newly ...

Very large Art Deco living room suite. One huge sofa and four armchairs. Velvet and gilded wood, circa 1940-1950.

Set of Thonet sofa type 6285 and two armchairs Thonet 6585. Rare type designed by Otto Wagner. Recently reupholstered. Shellac finish. Dimensions of a...

This elegant lounge set consist of a three-seater sofa and an armchair. The set was designed by Hans J. Wegner for the Getama Gedsted in Denmark during the 1960s. This is the GE-530 ...

Carved detail on tops, arms and legs, cane detail on sides and back all in good condition, floral print fabric pillows are still original horse ...

Dimensions: 43cmW, 104cmH, 45,5cmHseat, 48cmD Condition: Good Material: Wood, Leather Color: Black Origin: Italy Manufacturer: Pozzi

Art Nouveau Thonet sofa and two armchairs, J/J Kohn, upholstered in genuine leather, designed in 1905 by architect Josef Hoffmann for the Fledermaus cabar...

This impressive set of sofa and two armchairs was designed and produced by the Australian company Parker Furniture in 1956. Parker has a legacy of creating some of the finest Mid-Century furniture. These eco-friendly seats are no exception. In an elegant, deep design with perfect proportions, there are simple pillows covered with a characteristic designer material in the color of royal blue, which complements the scultured structure of the frame. The cushions can be raised and the pieces have a spring frame. Elegant, aerodynamic arches are embedded in a low-line solid teak frame that creates an ultra-streamlined 20th century classic. Parker reflects the lightness of form present in the best Mid-Century design and this highly organic living-room set by Parker are a great example of a coveted modernist style. Clean lines and a relaxed profile come together to create a comfortable and stylish pair with a timeless feel. The beauty of these elements can be seen in thoughtful details. The sharp angles visible in the armrests and rear slats add sophistication to this forward-looking design. The set is signed with a label on the wooden frame and an insert on the cushions. Sleek low-back style and sophisticated design are examples of Parker's form from the 1950s. Armchair has 75x69x73cm. The height of seat is 42 cm Parker Furniture began as ‘Dagger and Parker’, a partnership formed between craftsman Alf Dagger, and salesman Jack Parker, after the depression era. From humble beginnings, the company quickly grew, making government tender furniture. Originally, the company made mainly traditional style furniture – reproductions of antique or art deco styles. In the mid 1940s, Tony Parker...

De Sede DS-101 brown leather set of 2 sofas, lounge chair and an ottoman A beauty this De Sede DS- 101 set, Swiss made 2 pieces 2 seater sofas, lo...

Italian modern Leather chairs mod CAB 414 by Mario Bellini for Cassina, 1980s Set of fantastic and comfortable 6 chair mod. CAB 412 in black leather. The leather follows the shapes...

This rare modernist lounge set was manufactured by the Swedish manufacturer Holm Fabriker AB in the early 1960s. It consists of a four-seater sofa and an armchair. It was finished wi...

Totally traditionally restored with Ralph Lauren Zebra Fabric.

Stunning vintage modern living room set that includes two lounge chairs and a sofa. The red velour upholstery and brass drumstick legs are s...

A pair of Bergerer Arm Chairs with Matching Puffs hand woven ratan wicker cane. The chairs have double-sided woven panels of geometric cane topped with thick fitted loose seat cus...

Three-strand "S-arm" rattan living room set which includes one lounge chair with matching three-seat sofa. Each Measures: Sofa 33in. H x 73in. W x 36in. D. Chair 31in. H x 33in. W x ...

Italian modern Black metal plastic Chairs 4855 by Anna Castelli Kartell, 1990s Set of 12 dining room chairs mod. 4855 with round seat with a hole in the centre, in plastic and black...

This stylish three-piece living room set includes a unique loveseat and pair of matching chairs. Vibrant modern upholstery compliments the shapely scul...

Pair of vintage armchairs from the 1970s, Italian manufacture. The armchairs have an iron paw with seat and back upholstered in Mongolian goat fur.

Italian Mid-Century Modern armchairs Altopiano by Franco Poli for Bernini, 1970s Two armchairs Altopiano, upholstered in their original gray leather: fully upholstered, with wooden legs in a hemisphere with slightly lighter leather on one of the two seats. Designed by Franco Poli for Bernini, 1970s. Excellent condition, vintage patina leather...

These chairs were made for a very short period and are no longer in production. Smile armchair, design by Marcello Ziliani for BBB emmebi Bonacina ...

This is a heavy and luxurious set of 3 armchairs from Schuitema's furniture line Decoforma. With beautiful ard deco style side table made of mahoga...

Luciano Frigerio's Norman living room set in walnut and suede exemplifies mid-century Italian elegance and craftsmanship. Renowned for his unique approach to furniture design, Friger...

Space Age red coral pink vintage authentic pair of lounge chairs Saturn designed by Yjrö Kukkapuro Finland 1960s and a circular red pink sofa table by Yrjö Kukkapuro, 1960s. A rare ...

Here's a rarely seen design - this circa 1970s 'FK-883' sofa in black leather by Preben Fabricius & Jorgen Kastholm for Alfred Kill International and distributed by Harvey Probber in...

"Stringa" sofa designed by Gae Aulenti for Poltranova in 1962. A tubular chrome frame holds leather seats on top of felt upholstered cushions. The leather cushions are attached with ...

"Anfibio" sofa bed designed by Alessandro Becchi for Giovannetti Collezioni in 1970 in original Leather . The sofa can be unfolded or opened flat revealing its luxuriously soft sheep...

In his designs, Percival Lafer sought ergonomy and comfort. The MP-61 sofa and armchair, from 1973, was the first two pieces designed by Percival Lafer that used a visible fiberglass...

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...