1.De Sede Ds 600 Modular Sofa Snake
Conceived in 1972 by the Swiss design collective Ueli Berger, Eleonora Peduzzi Riva, Heinz Ulrich, and Klaus Vogt, the DS-600 remains one of the great provocations of postwar furniture design — a rebuttal to the sofa as a fixed, static object. Composed of identical upholstered wedges that articulate endlessly end to end, it belongs to a lineage of modular seating that emerged from late-1960s systems thinking, when designers across Europe began treating furniture less as sculpture and more as infrastructure: something a room could be built around, rather than furnished with. De Sede, the Swiss leather house behind the piece, gave it the nickname "Non-Stop" for its lack of beginning or end, and it has since entered the canon alongside works by Verner Panton and Superstudio as a defining object of the era's radical optimism.
This example carries that history forward — a rare opportunity to own a piece of design's own turning point, reconfigured for the room you actually live in.
$31,000
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2.1960’s Laurel Mushroom Lamp featuring arch brass base
Laurel Lamp Company built its reputation in postwar America on a simple conviction: that lighting could be sculpture. Founded in New Jersey and active through the mid-century decades, the firm became a go-to source for the era's designers and architects, producing fixtures that translated the period's fascination with organic form into brass, glass, and light. This example — its softly domed mushroom shade rising from a graceful arched brass stem — belongs to that vocabulary, echoing the biomorphic curves that swept through American design after the war, from Eero Saarinen's furniture to the rounded optimism of Populuxe interiors.
More object than accessory, it carries the warmth of a bygone domestic ideal — good design, meant to be lived with, not just looked at.
$500
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1970’s Modular Three Piece Sofa from Germany
Featuring Original Green Velour Upholstery
Emerging from West Germany's postwar furniture industry, modular seating like this reflects a decade preoccupied with flexibility — living spaces reimagined as adaptable, informal, and built around the body rather than the room's fixed geometry. Armless and low-slung, each piece stands independent yet reads as part of a continuous whole, echoing the era's fascination with systems design pioneered by German and Swiss manufacturers alike. The original olive-green velour, only deepened by age, carries the warm, earthbound palette that defined 1970s domestic interiors — a counterpoint to the previous decade's brighter optimism.
A rare survivor in unrestored, original upholstery: a tactile record of the decade it came from, ready to be arranged however the room asks of it.
$2,000
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4.1960’s Laurel Mushroom Lamp featuring walnut base
Murano's glassblowers have shaped light for the better part of a millennium, but the 1970s saw the island's ateliers — houses like Venini, Barovier & Toso, and Vistosi among them — turn their centuries-old craft toward a distinctly modern sensibility: bold, saturated color married to sculptural, hand-formed silhouettes. The "Monaco" belongs to that moment, its glass body shaped and colored using techniques passed down through generations of maestri, each piece subtly unique in the way only mouth-blown glass can be. Paired with its original shade, it retains the complete object as it left the workshop.
A functioning piece of Murano's living tradition — glass that carries both light and the memory of the hand that shaped it.
$850
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5.
1960’s Brazilian Brutalist Safari Leather Sling Armchair
Brazil's mid-century furniture makers worked in the shadow of an architectural revolution — the raw concrete, exposed structure, and confident materiality of Brutalism, championed by figures like Oscar Niemeyer, shaping how designers of the era thought about form. Chairs like this one translated that sensibility into the domestic sphere: exposed leather slung taut across an unadorned frame, structure left honest and visible rather than upholstered away, in the same spirit that drove contemporaries like Percival Lafer and Jean Gillon to reimagine seating using Brazil's native hardwoods and hides. Its "safari" profile — low, folding, expedition-ready — nods to a colonial campaign-furniture lineage that Brazilian designers stripped down and rebuilt in a distinctly modernist, material-forward language.
Sculptural and unfussy, it wears its structure proudly — a chair built the way its era built everything else.
$3,200
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