1970s Sofas

1970s Swedish Donald Judd Three Seat Sofa with Custom Cushions. Striped Fabric Cushions. Fabric Bands Under the cushions for weight support. Measures approx. - H26 x L90 x D33

Stunning “Le Bambole” two seater sofa designed by Mario Bellini for B & B Italia in the 1970s. A beautiful edition in high quality off white linen fabric, which adds a nice texture t...

Very nicely shaped lounge sofa designed and manufactured by Percival Lafer, Brazil, 1970. This sofa has a solid rosewood wooden frame and leather upholstery, chrome connections and l...

Stunning mid-century modern five-piece sectional curved sofa Milo Baughman style, in original Jack Lenor Larsen style upholstery. An exceptional sofa both for its form and quality, i...

Designer: Franz Hero and Karl Odermatt by Team Form AG Brand: COR, Germany Era: 1970’s Material: Beige, Teddy Fabric Size: 468 cm x 96 cm x 62,5 cm (first pricture) Seat: High 36cm...

Anfibio sofa-bed by Alessandro Becchi for Giovannetti, 1972. Fully restored and upholstered with high-quality black Italian natural leather. Mattress upholstered with soft sheepski...

3 seater sofa, day bed Anfibio designed by Alessandro Becchi and produced by Giovannnetti in 1970s. Designed in 1970, the Anfibio sofa bed has been described by critics around the wo...

Confidential Seating Set by Alberto Rosselli for Saporiti, Beige Boucle Fabric, Italy, 1970s - New Upholstery

Mario Bellini "Camaleonda" modular sofa for B&B Italia, black leather, Italy, 1970, four elements. "Camaleonda" is an icon, rediscovered. First designed in 1970 by Mario Bellini, i...

Anfibio sofa-bed by Alessandro Becchi for Giovannetti, 1972. Fully restored and upholstered with high-quality grey Italian natural leather. Mattress upholstered with soft sheepskin wool. The Anfibio sofa ranks among the most outstanding cult products of Italian design. It is innovative, original, and highly functional; it is a revolutionary sofa-bed, a symbol of high quality and sapient artisanry. It is possible to find it in the permanent collection of 13 museums worldwide, among which the MoMa in New York, since 1972. Alessandro Becchi designed the “Anfibio” sofa for the Italian manufacturer Giovannetti in 1970. It is characterized by generous dimensions and soft, embracing shapes that invite relaxation and comfort. It reminds a floating dinghy thanks to its lack of rigid mechanism. This feature inspired its name, which means amphibious. Furthermore, the sofa presents a rectangular steel structure and padding in non-deformable high-density polyurethane, covered with acrylic thermo-welded fibers and protective fabric. The Anfibio sofa by Giovannetti is available covered in leather or fabric and several colors. This artwork is the ideal convertible solution, the perfect combination of aesthetic research and innovative household living. Alessandro Becchi was born in Florence in 1946. He studied at ISIA in his hometown, and in the late 60s, he began his career as a designer. In 1970 he designed the revolutionary Anfibio sofa for Giovannetti. In 1972, thanks to the success of Anfibio, he was invited to the exhibition “Italy: the New Domestic Landscape” at the Museum of Modern Arts in New York. This date opens in close collaboration with Giovannetti. He designed a series of sofa-beds, such as Only You, Brando, Diletto, and the famous armchairs Le Bugie...

Vintage Florence Knoll 2 seater 'lounge series' sofa with original 2nd generation upholstery in a coarse woven off-white mottled wool fabric. This sofa d...

Very comfortable four-seat sofa model Coronado by Tobia Scarpa for B&B Italia. This large edition is not in production any more. It has soft cognac colored leather cushions and frame...

- Germany, around 1970s - Good original condition with patina - Made of leather - marked by manufacturer jr.

Mid-Century Modern Italian three-seat flamingo pink velvet "Coronado" sofa by Tobia Scarpa for B&B. Project from 1960s The sofa can come as a living room set together with its pair ...

1970s vintage Ficks Reed faux bamboo and rattan sofa with a chinoiserie flair. In original yellow finish with original fabric. Cushions have ha...

Mid-Century Modern Italian sofa with chrome back details and original velvet upholstery. Overall the sofa is in good vintage condition.  

A sculptural modern sofa designed by Vladimir Kagan and inspired by the curves and undulations of the Guggenheim Museum in Bilbao Spain. I do have a pair of these gorgeous sofa both ...

Set of three lounge chairs/modular sofa, Italy 1970s, entirely renovated and newly reupholstered in a velvet by Sanderson.

Modular sofa, Sistema 61, Giancarlo Piretti, Anonima Castelli, 1970s Seven seats with backrest upholstered in its original grey wool. The seats are conn...

De Sede, modular sofa, model ‘DS-76’, leather, Switzerland, 1970s This high-quality sectional sofa designed by De Sede in the 1970s contains one corner element, one regular element ...

Brown leather bed- sofa Karl Wittmann‚ Atrium’ in original brown leather, Austria, circa 1970 Very well preserved convertible double-seat sofa by Karl Wittmann in original conditio...

Cini Boeri (1924-2020) Bengodi A rectangular three-seater sofa covered with velvet upholstery, the seat and back each with two cushions on six feet. Original edition by Arflex. Ita...

Three seater sofa designed by Gae Aulenti in 1974. This sofa is part of the lounge seating line for the Aulenti Collection, manufactured by Knoll International. Aulenti first collab...

This Oak Officina Rivadossi bench is a breathtaking fusion of functionality and aesthetics that ceases attention in any setting. This bench goes beyond its practical purpose and tran...

Vintage 1970s Sectional Sofa. The sofa comes in 4 sections. You can arrange it in many ways. Newly upholstered with a burnt orange velvet stripe. The fabric is very soft. Color: ...

Adrian Pearsall semi-circular sectional sofa by Craft & Associates, circa 1970s. Inset base gives a futuristic floating experience and creates an instant conversation pit...

De Sede 600 non stop chocolate brown 18 element sofa, 1970s Beautiful distressed chocolate brown sofa by De Sede. This item needs to be reuphols...

De Sede DS 600. Design by Ueli bergere, Eleonore Peduzzi-Riva, Heinz Ulrich, Klaus Vogt, 1972. Modulable endless high class leather sofa. 12 elements in brown leather. Good vintage ...

Mario Bellini "Camaleonda" modular sofa for B&B Italia, Italy, 1970, four elements. "Camaleonda" is an icon, rediscovered. A special project made possible this limited edition of "...

Cini Boeri for Knoll, sofa, model 'Brigadiere', leather, lacquered wood, Italy, 1976. Architectural sofa model 'Brigadiere' designed by Italian designer Cini Boeri for Knoll. This ...

This Togo living landscape sofa was designed by Michel Ducaroy in 1974. Made by Ligne Roset about 1990 in France, stunning beautiful original co...

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...

A beautiful three-part Mid-Century-Modern modular Italian seating set in ruched cognac leather, consisting of two armchairs and one three-seater sofa. Overall in very good vintage c...

De Sede, 'DS-15' sectional sofa, patinated leather, Switzerland, 1970s. This high-quality sectional sofa designed by De Sede in the 1970s contains six regular elements and one corne...

Alberto Rosselli for Saporiti, sectional sofa, model 'Confidential', fabric, Italy, design 1972 Sofa designed by Italian architect and furniture designer Alberto Rosselli in 1972 fo...

Vintage Togo sofa set, designed by Michel Ducaroy in the 1970s and manufactured by Ligne Roset in France. This iconic corner armchair with ottoman features original cognac brown velv...

Roche Bobois Mah Jong sofa Missoni design by Hans Hopfer Roche Bobois Mah jong sofa consiting of 8 pieces of whom partially in Missoni fabric designed in 1971 by Hans Hopfer. A mo...

Togo sofa designed by Michel Ducaroy in the 1970s for Ligne Roset. It shows a nice warm natural color tone and its famous wrinkled cozy design. Lined underneath with original fabric ...

The iconic Togo sofa, originally designed by Michel Ducaroy for Ligne Roset in 1973 has become a design Classic. This five-piece modular set is incredibly versatile and can be confi...

Pair of B&B Sofas Newly Upholstered in Iridescent Acid Green and Green Velvet, mirrored checkerboard effect. Can be sold individually.

Pierre Cardin, a trailblazing fashion designer known for his innovative and unconventional approach, extended his creative vision into the realm of furniture design. Pierre Cardin's ...

Sofa in creamy white fabric. It is possible to open the backrest for more comfort. Height when open: 96 cm. Seat height: 44 cm. Wear due to time and age.

- Good original condition with minor signs of use - Professionally cleaned - Labeled by manufacturer

Le Bambole sectional 7-seater sofa by Mario Bellini for B&B Italia, 1970s. The Bambole is an iconic piece of Italian design. It was awarded the 1979 'Compasso d'Oro' award. An exampl...

The Onda three-seat sofa–Onda meaning “wave” in Italian– by Jonathan De Pas, Donato D'Urbino and Paolo Lomazzi, earns its namesake from the tubular stainless steel frame that forms i...

Sesann three-seater sofa, designed by Gianfranco Frattini in 1970 and produced by the Italian manufacturer Cassina. It features azure velvet upholstery and a chrome tubular cage as s...

This mid-century walnut and vinyl sofa was designed and manufactured in the United States in the 1970s. This magnificent piece of furniture boasts sleek black vinyl upholstery, and w...

Mario Marenco for Arflex, set of 2 lounge chairs, suede, Italy, 1970 Early edition Marenco lounge chairs designed by Mario Marenco for Arflex. It features a system that makes the ar...

Mario Marenco for Arflex, 'Marenco' 2-seater sofa, suede, Italy, 1970 Early edition Marenco sofa designed by Mario Marenco for Arflex. It features a system that makes the armrest an...

Mario Marenco for Arflex, 'Marenco' 3-seater sofa, suede, Italy, 1970 Early edition Marenco sofa designed by Mario Marenco for Arflex. It features a system that makes the armrest an...

Mario Marenco for Arflex, 'Marenco' set, suede, Italy, 1970 Early edition Marenco set designed by Mario Marenco for Arflex. The set features a system that makes the armrest and seat...

Made in Finland Cleaned Seat Height 41cm

This beautiful Art Deco design sofa by Schuitema has a unique appearance, partly due to the back and sides made of multiple types of wood used in wonderful patterns. This attractive ...

2 Maralunga sofas by Vico Magistretti production Cassina 1978s Pair of Maralunga sofas in black leather with two seats. Iconic sofa the Maralunga is confirmed as one of the most appr...

2-Seater Togo Sofa in Cream Leather by Michel Ducaroy for Ligne Roset, 1970s Designer - Michel Ducaroy Producer - Ligne Roset Model - Togo Design Period - Seventies Measurements - W...

Togo Sofa Set in Red Leather by Michel Ducaroy for Ligne Roset, 1970s Designer - Michel Ducaroy Producer - Ligne Roset Model - Togo Design Period - Seventies Measurements - 2-seat S...

Two-seater sofa with metal and wood frame and beige leather upholstery, 1970s, design Ferruccio Brunati. CONDITION: In good condition, shows obvious signs of wear given by time. DI...

The Cornaro sofa, designed by Carlo Scarpa in 1973 and produced by Simon, is a remarkable piece of furniture known for its unique style and excellent craftsmanship. Scarpa's vision b...