Plastic Living Room Sets

Sofa model Shark with a structure in chromed metal, wood, chromed backrest, and ground support, padding in polyurethane foam covered with dark brown fabric. Designed by Francesco Bi...

Mario Bellini "Le Bambole" three-seater sofa for B&B Italia, faux-fur, foam and metal, Italy, 1972. The search for a new shape for upholstered furniture: all parts are shaped like a...

Four amanta model 24 chairs designed by Mario Bellini for C&B Italia. They were manufactured in the early 1970s, these differ from the standard Amanta c...

New Stock ✅ Mid Century Ekornes Amigo Matching Stressless Two Seater Sofa and Armchair In Cream Leather Handsome and comfortable “Amigo” armchair and 2 seater sofa made in Norway b...

The Sesann lounge chair was designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. This set is composed of two lounge chairs upholstered in tobacco and chocolate brown alpaca velvet. Sesann is characterized by an organic and informal shape and is defined by the tubular metal detail that wraps around the soft, upholstered seat. In the 1970s, the Cassina catalogue...

The Soriana Sofa was first designed by Afra and Tobia Scarpa in 1969. In 1970 the Soriana was awarded a Compasso d’Oro prize solidifying its standing as a style icon. Defined by its...

Questo set di quattro sedie Selene è di colore bianco. È un bellissimo set di quattro sedie impilabili. Il peso di ogni sedia è di 4,5 kg. Le quattro sedie impilate misurano 93 cm H...

New Stock ✅ Vintage De Sede exclusive DS66 brown leather tan three seater and matching armchair mid century retro Not perfect condition hence the price but useable and a great mid...

This set was a part of a living room set made by JITONA company in the 1970´s. It´s consist of two armchairs and one pouffe. You can also simply turn it into a bed. It represent a ty...

New Stock ✅ Mid Century Ekornes Amigo Matching Stressless Two Seater Sofa and Armchair In Cream Leather Handsome and comfortable “Amigo” armchair and 2...

Living room set composed of a Nuvolone modular sofa (with six modules) and a large coffee table (with storage units) which can be arran...

William Andrus Lounge Suite, three piece set

The Togo was designed by Michel Ducaroy in 1973 for Ligne Roset. It is the first sofa/chair ever made only of foam and leather. The Togo collection features an ergonomic design with ...

MARSALA SOFA LOUNGE + 2 LOUNGE CHAIR WITH OTTOMAN BY MICHEL DUCAROY FOR LIGNE ROSET, 1970'S Marsala lounge chair with ottoman Designed by Michel Ducaroy for Ligne Roset France 1...

This living room set was designed by Anna and Carlo Bartoli and produced by Rossi di Albizzate, Italy, 2000s. The set is upholstered in fabric and features rigid plastic feet. With ...

Luigi Pellegrin for MIM Roma, modular sofa, velvet, metal, polyester, Italy, 1950s. This versatile lounge set by Luigi Pellegrin consists of one regular element and two corner eleme...

This is a beautiful Italian modernist leather sofa set- 3 seater and 2 seater. Three seater measures 30" H, 74" W, and 37" D. Two seater measures 30" H, 53" W, and 37" D. On Displa...

Mario Bellini “Le Bambole” two-seater 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 ...

1930’s Pair Of Mucke Melder original armchairs – FN21 – fully restored. 1930’s Pair Of Mucke Melder original armchairs – FN21 – fully restored. Founded in the...

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...

Sesann dining room set, designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. It is composed of a three-seater sofa and three armchairs. It features brown alpaca...

This sofa was designed by Michel Ducaroy for Ligne Roset in the 70’s. He devoted 26 years of his life to the head of Ligne Roset’s design department. It was in 1973 that he designed ...

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...

Pop Art multicolored vintage three ( 3 ) dining chairs with one ( 1 ) table model Dark Horse designed by Rud Thygesen & Johnny Sorensen for Botium, Denmark, circa 1989. A stunning set with multicolored chairs...

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...

Customizable Space Age Living Room Set Atlantis in Boucle 1970's, Czechoslovakia. You can choose fabric color. Order execution time up to 4 weeks to shipping. Dimensions: sofa: W 210...

Chair Gropius CS2 Designer: Kateryna Sokolova Model in the main picture Savoy FR, Arco Rohi Aqua Dimensions: Height: 74 cm / 29,13 in Width: 57 cm / 22,44 in Depth: 57 cm / 22,44 ...

The iconic Togo leather sofa and armchair set, originally designed by Michel Ducaroy for Ligne Roset in 1973, has become a design mid century classi...

William C. Andrus for Steelcase, pair of lounge chairs, coffee table, lacquered fiberglass, plexiglass, leather, United States, 1970s Lovely space age living room set designed by Wi...

Set of 2 Cornaro two-seater sofas, designed by Carlo Scarpa and manufactured by Studio Simon in 1974. Made of Iroko wood, foam, and azure chenille velvet. Excellent vintage conditi...

Sesann dining room set, designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. It is composed of a two-seater sofa and two armchairs. It features...

Mid-century Italian red and blue metal and plastic sofa and armchairs 1950

Counter Chair Gropius CS2 Designer: Kateryna Sokolova Model in the main picture wool, Woolland-64. Dimensions: Height: 88 cm / 29,13 in Width: 57 cm / 22,44 in Depth: 57 cm / 22,44...

The iconic Togo blue sofa set, originally designed by Michel Ducaroy for Ligne Roset in 1973, has become a design Mid Century Classic. The sofas have be...

Sesann armchair, designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. It features khaki brown velvet upholstery and a chrome tubular cage as stru...

Magnificent 8 pieces modular sofa, Saporiti Italia 1970s, completely renovated and reupholstered with the highest quality Italian leather.

Rare set of 4 "VillaBianca" chairs design by italian master Vico Magistretti for luxury brand Cassina. This Amazing set Is perfect for 80s lovers, Memphis style, plastic space age ro...

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...

Haven Olive pouf by Warm Nordic Dimensions: D57 x H 40 cm Material: Textile upholstery, Foam, Wood. Weight: 9.5 kg Also available in different colours a...

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...

Peter Ghyczy's exceptional 2-seater sofa from the 1970s is an incredibly rare and truly unique piece. Also referred to as the "Fehlbaum sofa". Finding this particular sofa is a rar...

Yeti sofa by Pepe Albargues Design by Vladimir Naumov Dimensions: Width 202 - depth 110 - height 82 - seat 44 cm. Materials: Pine wood structure, plywood...

Mid-Century seating group consisting of four armchairs and a table: 33 x 41 x 41 cm. The armchairs are made of white plastic and are on castors. The cubic armchairs are equipped with...

Original condition.

Ciottolo #1 Seat by Imperfettolab Dimensions: D 580 x W 90 x H 50 cm Materials: Fiberglass. Also available in different dimensions and colors. Please contact ...

Two-seater “Simone” sofa, designed and manufactured by Studio Simon in 1975. The structure is made of black lacquered wood. An azure velvet big seat completes the sofa. The min...

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...

Introducing the exceptional Wolfgang Feierbach FG2008 set, featuring three yellow seats and a coffee table in their original brown corduroy fabric. As you may already know, the FG200...

Studio sofa by Kristian Sofus Hansen & Tommy Hyldahl for Nor11 Setup 6 (4 x curve ): Measures: W. 250 cm / D. 250 cm / H. 70 cm / SH. 47 cm Modular sofa: assemble different modules...

Set composed of three Bonanza lounge chairs, designed by Afra and Tobia Scarpa and produced by the Italian manufacturer C&B Italia (now B&B Italia...

Mario Bellini “Le Bambole” pouf for B&B Italia, lapin fur, Italy, 1971. This timeless Postmodern design icon came into being between 1970 and 1972. The search for a new shape for ...

Mr Olsen 3 seater Oak Mosaic Royal Blue by Warm Nordic Dimensions: D201 x W79 x H 78/46 cm Material: Textile upholstery, Foam, Spring system, Solid oiled oak legs, Solid smoked oak...

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...

Three-seater “Simone” sofa, designed and manufactured by Studio Simon in 1975. The structure is made of black lacquered wood. A black leather big seat completes the sofa. The m...

Counter chair Gropius CS1 Designer: Kateryna Sokolova Model in the main picture Wool, Calico 29. Dimensions: Height: 101 cm / 29,13 in Width: 57 cm / 22,44 in Depth: 57 cm ...

Original condition.

A “Ploum” sofa and matching ottoman designed by Ronan and Erwan Bouroullec for Ligne Roset. The sofa is covered with the stretchable Kvadrat Febrik Cross. T...

Original condition.