Dining Room Sets

Designed by Daniel Barbera, the 'Bronze' square table is a Minimalist table consisting of Classic geometry on the exterior merged with organic flowing underside. The four legged cast...

Elegant set of four neoclassical dining chairs, American, circa 1950s. They retain their original vibrant yellow ostrich print vinyl upholstery.

FDB Møbler dining room set consisting of 6 chairs by Ejvind A. Johansson, model J67 and a table by Poul M. Volther. Made in oak. Extendable table with slanted legs. Denmark, first ha...

Conference or dining room set consisting of Fabiaan Van Severen dining chairs with Bruno Mathsson and Piet Hein for Fritz Hansen Super-Ellipse table Fabiaan Van Severen, dining ch...

Fine Quality Antique Burr Walnut Dining Suite in the Queen Anne Style Item Code: 1323A A superb quality and visually elegant burr walnut dining suite in the Queen Anne style, compris...

Dining goods are one of the newest additions to Stephen Kenn's The Inheritance collection. A solid walnut and steel dining table with simple and modern lines, with a set of four matc...

A Dinning Room table set with eight ( 8 ) chairs: - An elegant Art Deco dining table crafted from walnut with a clear finishing of clear veneer with two extensions and chrome iron d...

A prestigious member of one of the most exclusive Gentlemen's clubs in London, Henry Portman, whose legacy is intertwined with the architectural heritage of London's Portman Estate. ...

1950s Dunbar, designer Edward Wormley extention dining table with 2 leaves model 5462 with 6 chairs model 5480. Rare Mid-Century Modern 1950s Edward Wormley extension dining table...

Italian modern dining table, designed by Bertha Schaefer for Singer and Sons, Italy, circa 1950s. This table is currently being refinished ...

A set of six Italian dining chairs with a sublime organic design in maple attributed to Augusto Romano and re-upholstered in black velvet. The chairs have supreme craftsmanship and a...

Wonderful wicker Table & Bench Set in the style of Danny Ho Fong Produced by Calif-Asia - 1960's Angled iron legs with intricate weaved patterned top indicative of the quality prod...

Handglazed emerald ceramic tea table / garden table with four matching stools. Wear comensurate with age, including lovely patina and crazing. Some slight imperfections, the glaze is...

This Louis Majorelle extendable dining table, accompanied by a set of six matching chairs, is a solid display of French Art Nouveau style in furniture. The "Chicorée," or "Chicory," ...

A stunning dining set that embodies timeless elegance and mid-century charm. This beautifully restored Paul Frankl-inspired set showcases a square rattan table...

Cotswold School oak dining room suite Six seater oak table has 4 faceted 12 sided legs joined by a chamfered ‘H’ stretcher with through wedge te...

Beautiful woven wicker, rattan, and bamboo dining set. Created from bentwood, this patio set includes four chairs and a pedestal table base with a round glass top. Each chair feature...

Solanas Outdoor Dining Set by Daniel Germani for Gandía Blasco Table: 55" diameter x 30" height Chair: 23" W x 22" D x 29" H, seat height 19" Designed with both durability and refi...

1960's Rosewood Dining Table and 6 Chairs - by Robert Heritage for Archie Shine - 1st Exhibited 1957 and retailed from Heals and Harrods in the 1960's - table 56" diam x 28.5"h - cha...

Very rare and complete 1st edition dinner set by Pierre Paulin for Artifort, Netherlands – 1965. This is a rare and complete 1st edition set. The chairs swivel. The table top has been professionally refinished in the same colour. The fabric is still original but shows a lot of staining. The legs have some normal signs of age and us. This set is extremely rare and could feature in a Paulin / Artifort museum or dedicated art show. Reupholstery on request. Designer: Pierre Paulin (France) Manufacturer: ARTIFORT (Netherlands) Country: Netherlands Model: Tulip table and chairs...

A stunning vintage modern Danish teak pedestal base dining table with two leaves by Skovby Mobelfabrik. This attractive set caters to many with the ...

Royal House Antiques Royal House Antiques is delighted to offer for sale this absolutely exquisite Regency style Burr Walnut two pedestal dining table with ten matching inlaid dining chairs that have ornately carved frames Please note the delivery fee listed is just a guide, it covers within the M25 only for the UK and local Europe only for international, if you would like an accurate quote please send me your postcode and I’ll provide you with the exact price A very good-looking hand made to order suite, these absolutely never come up for sale on the preowned market, the suite is based on a Regency design with Dutch inlay...

Circa 1950’s Mid century English Cane/Wicker conservatory set. x4 Armchairs and matching table. Great form Price for the set Table W74 x D74 x...

A French Louis XV style dining set includes an oak table with parquetry draw top and raised on cabriole legs terminating in scroll form feet; four chairs are upholstered with tall ba...

A George I style walnut veneer extending dining table and set of twelve dining chairs by Whytock & Reid, circa 1920s. The dining table with a cross-banded top, moulded edge and shape...

Beautifully Cared For 1960s Rattan Dining Set With Formica Top, 1 Round 1960s Rattan Dining Table With Formica Top. 1 Wide Formica Leaf To Vintage Rattan ...

Rectangular table with two extension of cm 48 (19”) with top in ash-burl inlay and curly sycamore veneer in high gloss polyester, finish in dark moka tone and polished stainless stee...

Gioia Meller Marcovicz The Monolith A stainless steel dining ensemble composed of a folding x-shaped profiled table and ten folding chairs. When n...

Dining room set consisting of a round table and 4 circular benches circa 1960 Pierre Chapo Inspired - Brutalist Measures : Table : Ø 118cm H: 72cm Bench : 128x29cm SH:42cm Brutalist dining set made of solid wood in the 1960ties. The Set consists of 1 table and its 4 benches...

When I made this table, the main challenge was to find really old walnut slabs. So that they would be dark, with a rich dark vein, a little rotten and with lots of holes and cracks. ...

The 615 Husser table was designed by Frank Lloyd Wright in 1899 for the Joseph W. Husser House in Chicago, Illinois. The 614 Coonley chair was designed by Frank Lloyd Wright in 1907 ...

A unique mid-century Italian chinoiserie dining table and six dining chairs, designed by Umberto Mascagni for Harrods. Circa 1960s. Image numbers 6 and 7 show original photographs...

Willy Rizzo style table and chairs by Gastone Rinaldi for Rima, 1970s DESCRIPTION Table with briarwood and brass base, and smoked glass top. The chairs are made of chrome-plated iro...

Clean lines and high quality materials are the basis of Stephen Kenn's Inheritance Collection. This simple yet elegant dining set features a solid ebonized oak tabletop with an antiq...

Set of 5 mod. 783 “Kentucky” dining chairs, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Structure made from oak and walnut timber. Seats and backrest made from cognac leather. Excellent vintage condition. Carlo Scarpa designed this chair for the “Scuderia” series., the last project he made for Bernini. The architect took inspiration from the “shaker” movement. He designed the chair slightly inclined at the front. This feature allows you to swing backward (until you lean on a wall) and remain in balance. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. 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, Carlo Scarpa 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 that stands on the Grand Canal banks, 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 found himself 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 [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and clearly shows 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 terms of 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 significant ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of: – Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) – 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 the renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to 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, working on the Carlo Felice Theatre in Genoa and 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, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 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 was carrying out at the same time 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, rising up 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 which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main 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 of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which 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 couch and armchair “Cornaro” to the collection and the “Toledo” bed...

Vintage French Victorian Style Wrought Iron Flower Garden Patio Dining Set - 5 Piece Set. Item features (4) chairs, (1) glass top table, flower backs, wrought iron construction, very...

Beautiful expandable Art Deco dining room table from France, circa 1930. Thuja / Cedar roots or burl veneer at the plate and legs with excellent clear lacquer surface. Wonderful L...

In this listing you will find a stunning Space Age patio, garden and dining room set, consisting out of a folding table and 3 folding chairs with distinctive design. They are all don...

On offer on this occasion is one of the most stunning and rare, dining set you could hope to find. Outstanding design is exhibited throughout. The beautiful set is statement piece an...

Midcentury wicker and rattan stands with round glass tops and a classic hour glass form on bun feet. Can also be used as a dining table base.

Two grand and very impressive cast concrete neoclassical style pedestal dining table bases with finely detailed winged griffins. Will support a large stone, marble or glass table top. Can be used indoors or outdoors - sun porch...

Elegant dining table designed by Pier Luigi Colli with finely carved and painted legs decorated with acanthus leaves. Dark red glass top. The same set ...

Martin Eisler created this original table in the 1950s to take advantage of space, assuming two positions: in the normal position, it serves as a dining table for up to six people; i...

Space Age period dining room set designed by Boris Tabacoff and manufactured for Mobilier Modulair Moderne in 1970s circa period, France. The set consists of the round dinning table...

An incredible rare dining set designed by Nanna Ditzel for Domus Danica, circa 1969 A set of 4 untouched dining chairs with a rare vinyl upholstery and a large dining table. M...

Handmade Walnut Dining Table Set with Matching Benches – Custom Solid Wood Furniture for Modern Dining Rooms A refined centerpiece for the contemporary dining room, this handmade wa...

Vintage Brutalist Ilana Goor Style Iron & Glass Dining Set. Listing includes a Large Glass & Iron Dining Table and 8 Iron Chairs with Distressed Tooled Leather Seats and Backs. Table...

Large Mahogany drop leaf Table 1940s great for a small useable dining space

Elegant Art Deco Dining Room Set – Fine Craftsmanship and Premium Materials. This exquisite Art Deco dining room set showcases outstanding woodworking and high-quality materials. The...

Baroque Ferrarese burl walnut with neoclassical references , Art Decò age, table with six chairs of the early twentieth century, in solid blond walnut. Shaped oval shaped table, wit...

A magnificent and very rarely seen vintage dining table and chairs by Andrew Milne for Heal’s. This was made in England and dates from the early 1950’s. This is the pinnacle of Brit...

Dining table mod. ‘Samo’ by Studio Simon. Series ‘Ultrarazionale’. Italy, 1970. Made of granite. Literature: Giuliana Gramigna, Repertorio 1950-2000, Allemandi, Torino, 2003, p.180. Excellent vintage condition. The Samo table was designed in 1970 by the project office of Studio Simon. Carlo Scarpa was the brand's artistic director, and the Venetian architect's style inspired the shapes of this table. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. 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 found himself 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, which are all worth mention. 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 terms of how 20th century museums were to be 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 greatest 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 renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider being one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to 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, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa began work building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time 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 20th 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, rising up 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 which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main 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 of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which 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 8 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 couch and armchair “Cornaro” to the collection and the “Toledo” bed...

Stainless steel dining set designed by Gary Gutterman for Axius Designs in 1970s. Set includes glass top dining table and 8 chairs. All original and in very good condition.

An extremely rare set of twelve dining chairs designed by Edward Wormley for Dunbar. Known as the Greene & Greene chair for it's crafted look with exposed tenon crest rail, rosewood ...

Elevate your dining experience with this Vintage MCM Wrought Iron Outdoor Dining Set of 5. Featuring sleek lines and mid-century modern style, this set...

This outstanding 13-piece Victorian dining suite by R.J. Horner of New York boasts intricate hand carving rarely seen in furnishings of the era....

A remarkable table and bench set in the spirit and style of the iconic designer George Nakashima. A handsome live-edge piece of wood with beautiful graining for the table top mounted on an angular openwork Geometric metal support on each end. Along with a pair of benches with flat wood supports on the ends and a matching metal support in the middle. Table measures length. 130", depth varies 30 1/2-33 1/2", height. 31 1/2" Benches measures length 130", depth 11 1/2", height 17" Condition: Please see detail photos. There are various signs of age and use including some areas of finish loss, scratches, loss and wear to one bench corner...

An über chic Italian Aldo Tura tobacco coloured lacquered goatskin / parchment elliptically shaped dining table by renowned Italian Desinger Aldo Tura in the mid 20th Century, a fine...

Osvaldo Borsani set of eight unique high back swivel dining chairs for Tecno 1971, Original cotton velvet upholstery, aluminum with bronzed finish. A copy of the blueprint included ...

Midcentury, Hollywood Regency, faux bamboo, café dining set consists of two cast aluminum side chairs and a table base for indoor and outdoor use. The ...