Dining Room Sets

Vintage Chinese Harwood Chinoiserie Dining Room Set Table 8 Chairs - 9 Pc Set. Listing includes (1) 24" leaf, (2) armchairs, (6) side ch...

The dining table, designed by Karsten Lauritsen, features solid oak legs and a laminate surface in the color salsa linoleum. The table is in very nice condition and includes four add...

A rare and beautiful set of 8 sculptural rosewood dining chairs retaining their original black leather; there are six side and two armchairs in the set. Designed by Helge Vestergaard...

Mid-Century Modern quality cast aluminum dining set consisting of 4 chairs and rectangular glass top table. Good quality set. Green vinyl upho...

6 chairs covered with red leather with matching table original leaves missing from the set but the table could be extended.

Odd rattan bases with woven faux leather seats with high backs. Table has rattan base with oval glass top. 2 arm chairs measure 49" H x 26 1/4" W x 26" D. Seat height 18 1/2". 6 ...

Sturdy and handcrafted dining set with a bench and three high back dining chairs. This striking design and 'rough' hand made brutalist style is really standing out. The entire set...

Paul McCobb dining table for Calvin, American, circa 1950s. Elegant design with brass stretcher. This table is currently being refinished and can be completed in your choice of color...

Wonderful vintage maple drop-leaf table featuring unique carved gate legs. Use with one leaf or two to adjust the table top from a compact 44"x34" tabl...

A Dinning Room tableset with 8 chairs: - An elegant Art Deco dining table crafted from walnut with a clear finishing of clear veneer with two extensions and chrome iron details on t...

Rectangular table in Brazilian rosewood satin finish with Italian walnut inlay top with 2 extension of cm. 48 (19”) each. Brushed steel accents on the base. Art Deco Size 78’’ ½ W ...

This gorgeous dining set is manufactured by Chromcraft from USA. It is a beautiful example of the space age era. The beautiful tulip swivel chairs are beautiful sculptured with a thin body shape. The shell of the chair is made of Lucite opak acryl and the base of aluminium and acryl. The seati g is made of aniline black leather. The dining table is made of glass and leather and the feet is in acryl and aluminium. It contents 4x dining chairs...

- Four dining chairs, two armchairs, adjustable dining table, coffee table - Dimension of chairs: 78 x 42 x 43, dining table: 78 x 120-170 x 80, coffee table: 58 x 105 x 50 - Made ...

Set Of 5 Corian Steel Dining Table And Seating by Pol Quadens Limited Edition Of 8+4 Pieces. Dimensions: D 76 x W 250 x H 74 cm. Materials: Lacquered steel. Pol Quadens was born in...

Step into the epitome of mid-century modern sophistication with this exquisite dining set straight from the stylish era of 1970s Italy. The suite boasts a sleek chrome and glass dini...

Teak door table made in Australia and shipped to Coeur d'Alene by a doctor. Teak frame and post legs with inset vintage heavily iron decorated teak door. In...

French Country Style Hollywood Regency Green Painted Dining Side Chairs - Set of 4. Item features a green painted finish with yellow and red stripes, solid wood frames with curved wo...

Kaare Klint dinning table in mahogany. Executed by Rud. Rasmussen. Underside with manufacturer's paper label RUD. RASMUSSENS/SNEDKERIER/45 NØRREBROGAD/KØBENHAVN, pencilled serial nu...

Vallin dining table, Modern Collection, Handcrafted in Portugal - Europe by GF Modern. The branched legs in solid beech, lacquered with gold-coloured bronze powder, are a reminder...

Dining room sets in Louis XV Style with a set of 4 chairs & a Louis XV dining room table is designed by the renowned designer Paul Mathieu. He chose the name “Louise” when he created his more feminine version of Louis XV furniture and this elegant dining room sets. The characteristic cabriole leg, curving outward at the knee and inward towards the foot in an "S" shape was born during Louis XV period. It is during the same era that English furniture makers produced the Queen Anne and Chippendale styles. The dining room sets are inspired from the style of 18th-century French furniture which was guided by the court. When Louis XV, who reigned from 1715–74, focused royal life on the smaller salons of Versailles rather than its grand chambers, it transformed the aesthetics away from the imposing and angular furniture that characterised the style of Louis XIV. A broader focus on comfort and more delicate forms define antique Louis XV furniture dining room sets, with nature-inspired carvings, wood inlays, curved cabriole legs, asymmetrical shapes and rounded oval seat backs. The furnishings changed throughout the king’s life, as he ascended to the throne as a child and then grew to establish his own tastes. The dining room sets are made with great precision by our master craftsmen and hand carvers. This dining room set is more than just a dining room set as it is a true piece of art! Pieces like the bergère, an upholstered armchair with a wide cushion that fit the flowing dresses in fashion at the time, reflected this more informal court. Introduced at the start of Louis XV’s reign, bergère chairs in this style were deeper and broader than other chairs of the period. Louis XV tapestries and carpets tended to be floral and colourful, and design elements were borrowed from Asia. Dutch-born cabinetmaker Bernard van Risenburgh brought lacquer techniques influenced by Japan and China into his luxuriously made furniture. Along with its fine details, the furniture of the era also featured new innovations including mechanical devices. Jean François Oeben, a royal cabinetmaker, created such intricate pieces as a mechanical table for Madame de Pompadour, Louis XV’s mistress. It involved a sliding top and a writing surface that extended from its marquetry panels. During the later years of Louis XV’s reign, there was a shift from the ostentatious rocaille style, part of the exuberantly decorative Rococo movement in Europe for which designers such as Nicolas Pineau and Juste-Aurèle Meissonier are known. The style under Louis XVI would return to boxier forms, but with a neoclassical touch inspired by the ancient world. For the dining room sets the curved legs and side arms of this exceptionally elegant chair are hand carved from solid pieces of teak. Pattern makers trace and cut complex forms that will cover the chair in a skin of copper or purest silver (assayed at 96% purity, beyond sterling at 92.5%). The metal finishes will tarnish over time. Regular non-abrasive household metal polishes can be used to restore the original lustre. For the dining room sets the curved legs and side rails of this exceptionally elegant table are handcarved from solid pieces of teak. Pattern makers trace and cut complex forms that will cover the table from thick sheets of copper or silver. Once the table is joined together, it is meticulously encased in a tight-fitting skin of copper or purest silver. The silver used was assayed at 96% purity, which exceeds the minimum standard for sterling of 92.5%. Available options for the metal skins are White Bronze, Antiqued Bronze, Brass, Silver and Copper. Both silver and copper will tarnish over time. Regular non-abrasive household metal polishes can be used to restore the original finish. Dining room sets include: Set of 4 chairs Louis XV style in white bronze clad, club chair by Paul Mathieu...

Boat-shape rectangular table with two extension leaves. Top with combination of crotch mahogany and straight sapele mahogany. Brushed steel details on the base. Open table: 112” L x ...

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...

Green Contemporary Metal Garden Dining Set with 4 Dining Chairs. The powder coated slated metal structure makes this suitable for the outdoors. The minimalist profile of this set wi...

We are delighted to offer for sale this very fine suite of ten original RRP £15,500 Burr Satinwood Giorgio Collection dining chairs This set is part of a monumental £50,000+ dining room suite which includes the extra large extending table...

An original Belgian Art Deco dining table featuring a parquetry inlaid table top defined by expert woodworking and a curved double pedestal base with polished aluminum decorative acc...

Clean Lined Glass and Chrome Dining Table or Desk

Glamorous X back dining chairs, designed by Tomlinson, American, circa 1950s. These chairs are currently being refinished and reupholstered and ca...

A spectacular Chippendale style dining room set in tiger maple including a rectangular double pedestal dining table with two leaves and six chairs, two armchairs and four side chairs...

We are delighted to offer for sale this Kindel furniture cherrywood gold giltwood dining table. This table is vintage 1950s, an extendable table with three extra boards, so you ch...

French Mid-Century (1940s) metal inlaid palisander wood dining table with an inlaid apron & carved scroll legs resting on bronze sabot feet. (By JEAN PASCAUD / Reference: Les Decorat...

A Hamilton Rosewood Dining Table & Ten Chairs by Robert Heritage. Owned by the same family from new and purchased from Heals, London. Extends to an impressive eight feet when opened....

Vintage Hollywood Regency Faux Bamboo Lattice Metal Green Dining Set - 5 Pc Set. Item features (2) Armchairs, (2) armless chairs, pedestal base dining table, oval clear glass top, swivel pedestal base chairs...

An exceptional Art Deco dining set in exotic macassar ebony veneer featuring a stunning table and six chairs completely reupholstered in cream-coloured faux leather, all in excellent...

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...

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.

Dining set, France, around 1920. Very good condition. Wood: oak dimensions table height 78 cm length 129 cm length after unfolding 240 cm depth 100 cm chairs height 10...

This is a beautiful trestle dining table with matching benches by Gerald McCabe for Orange Crate Modern. This table retains its original finish over soli...

On trend vintage Italian Mid Century Modern dining set Eight Effezeta chairs surround the sleek dining table Very comfortable to sit at, chairs are on m...

Art Deco Dining Room Set (table and sideboard): - Long sideboard with dark lacquered doucine veneer finish, nickeled door handles, three doors and ...

Hansen Sorensen Dining room table with 6 chairs, 1970 Denmark The Hansen Sorensen dining room table with 6 chairs from 1970 is a beautiful additio...

A graphic and beautifully detailed solid pine ‘Trybo’ dining set designed by Edvin Helseth (1925-2017) in 1965. The set features a dining table with two large gate-leg extension leav...

Carrara marble oval table set with six armless tulip chairs reupholstered in genuine black leather.

Stunning Art Deco dining room set with expandable table and eight chairs in Makassar Veneer and Black Lacquer. Extendable dining table with top and apron veneered in bright Macassar...

Karen Chekerdjian expands her iconic Inside Out collection with the new Large Dining Table—a bold yet essential centerpiece for contemporary interiors. This new iteration introduces ...

Here' s a full dining set experience by Ambrozia, including 8 shaker modern chairs & a 8ft richmond dining table in solid walnut. The Shaker chairs are handmade to order from our...

Sturdy and handcrafted dining chairs with matching table produced by Depuydt Kunstmeubelen in Belgium. The entire set is made out of solid oak. It's rare to have the chairs and...

This unique Sheraton style mahogany dining table features swing legs which is perfect in case you need more space at times and features fluted legs with brass castors. Four handsome ...

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...

There are many details that make this Venetian style dining table very luxurious. From solid wood, soft ivory color, to cabriole legs with intricately handcrafted wood carvings on th...

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...

Rosewood table and chairs model 31 by Kai Kristiansen. Furniture in very good condition, after professional renovation. The seat and back of...

Art Deco Paul Frankl for Johnson Furniture mahogany and cork dining set - 9 piece set. An exquisite, iconic and truly timeless and unparalleled classic dining set...

Danish Modern, rosewood dining set by Niels Koefoed, Hornslet Møbelfabrik features a 43 inch round dining table that extends up to 83 inches with two 20 inch leaves and 4 elegant, high ladder back...

A magnificent Art Deco burr walnut dining table and chairs by Hille. This suite was made in England, it dates from around the 1920’s. The quality is exceptional, the table and chair...

Round dining table - Entrance table hallway - 120 diameter Offered for sale is a modern eclectic dining set, made with a set of four Monk chairs by Afra & Tobia Scarpa for Molteni ...

Mobichalet, set of dining table - pair of benches - stool, oak, beech, Belgium, 1950s This rustic dining set will come forward nicely in a relaxing ...

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...

Mid century dining table and six chairs with lift off utensils storage. Excellent design. Great condition. H 48” W 75” D 34.25" (Chairs p...