Dining Room Sets

- newly upholstered in velvet fabric - good/very good condition with minor signs of use - heigh of seat 43 cm.

Tessellated Marble Dining Chairs, American, circa 1970s. Outstanding color combination with the black and deep coral orange color tessellated marb...

Beautiful Dutch dining set manufactured by L.O.V. (Labor Omnia Vincit - Labor Overcomes Everything) in the mid-1920s. It was innovator Gerrit Pel...

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...

Tito Agnoli for Matteo Grassi leather dining table and six chairs. The table has the same beautiful brown color and is covered with leather. The glas...

We are delighted to offer for sale this exquisite heavily carved Art Deco Burr Walnut dining table with six sculptural dining chairs A beautiful example of this kind of work, the ...

Art Deco American of Martinsville burlwood 8 piece dining set. Stunning Art Deco American of Martinsville burlwood 8 piece dining set. This set includes: table with 1 leaf, and 6 chairs. Unique mirrored burlwood dining table with a leaf. Beautiful set of 6 art deco campaign style dining chairs...

Very nice set, consisting of extendable table and 6 chairs. The set dates from the Art Deco / Art Nouveau period, circa 1915 and is made of solid pear wood. The chairs are newly uph...

Round end table with the famous Roger Capron Herbier tiles, designed from 1968 to 1982. The handcrafted Garrigue tiles produced by a technique in whic...

Dark solid oak dining table with a set of six matching chairs. Dimensions: Table (may be fully disassembled): H(table/tabletop) 74/4 cm, W 200 cm, D 84 cm Chairs: H 98 cm, H(sea...

Early 20th century vintage wrought iron table This solid and heavy duty wrought iron table features a generous 48 inch Glass Top perfect...

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...

Very nice dining room set by Giotto Stoppino from the 1970s in Italy. This set consists of a dining table and four matching dining room chairs. The table has a tubular, chrome-plated...

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...

Mid-Century Modern McGuire cane - 6 piece dining set Mid-Century Modern original McGuire pink and white woven rattan armchairs with Classic McGuire whi...

“Scuderia” dining table, designed by Carlo Scarpa and produced by the Italian manufacturer Bernini in 1977. Originally, Carlo Scarpa designed the table to restore the stable of Villa Valmarana in Vicenza in 1972. The table features a solid walnut structure. Available also five “Kentucky” dining...

Mid-Century Modern folding dining set by Hyllinge Møble, Denmark, 1970s.

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...

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...

Mario Bellini design first edit two horse "scacchi" for C&B italy production years 1968 this is very rare set first edition from C&B Italy and not for the after b&b. auction ...

Angelo Mangiarotti for Skipper, dining table ‘Eros’, white marble, 1970s, with Rainer Daumiller Set of Six Dining Chairs in Pine This sculptural table by Angelo Mangiarotti is a ski...

Elegant dining set, designed by Charles Rennie Mackintosh and expertly manufactured in Italy during the 1970s. This set includes a sophisticated oval dining table and four matching c...

A beautiful dining set, designed by Gerrit Willem Dijsselhof and manufactured in the Netherlands around 1900. The set contains one dining table and three chairs. Made of the highe...

German beer garden wood folding table with two wood folding benches. Sturdy and well made wood surfaces and metal folding legs. Folding mechanism is...

Hollywood Regency Ebony Dining Table by Maison Gouffé, Paris, France, Lacquer Important circular dining table designed and produced in Paris, France by Maison Gouffé, circa 1930s. Go...

Unique dining set consists of 6 rattan rope wrapped dining chairs upholstered in a tropical palm leaf print and matching pedestal table with glass top. Steel frame construction, heav...

Very comfortable dining room table including six stools. The stools and table follow the same shapes creating a consistent and robust set. The table is made of solid elm and the top ...

Welded polychromed and patinated steel "skyline dining" table by Paul Evans. Welded signature and date to base ‘Paul Evans 73’. Dimensions of the base: H:29 W:40 D:18 in. USA c.1973 ...

1970’s White powder coated patio set by Russell Woodard. Set consists of two arm chairs, two side chairs and table with glass top. Newly powder coated white, new glass top and new yellow with green thread Sunbrella cushions...

Exquisite & most rare! This French Art Nouveau dining set consisting of 8 chairs and matching table by Eugène Vallin in solid walnut. The chairs where de...

Danny Ho Fong mid century iron and cane dining table with 6 stools The dining table measures: 73 wide x 30 deep x 26 high, with a chair clearance...

Circa 1915. Monumental Scottishoak top refectory art table with bleached oak top and pine frame with block tapered legs. Provenance: Strathallan Private School...

German architect turned designer, Rainer Daumiller, popularized these playful pine dining sets through the Danish brand, Hirtshals Savvaerk, in the 1960s and ‘70s. Designed to be fun...

This set of table and chairs was designed by Willy Rizzo for Mario Sabot, in Italy during the 1970's. The chairs are in lacquered wood, steel and reupholstered with a synthetic leath...

Mid-Century Modern Italian Bamboo game table set. The Table top with green cloth is endorsable to become a normal dining table equipped with two bamboo seats...

Spectacular set of table and chairs with Sabrina design by Gastone Rinaldi sealed Vidal Grau, with original upholstery. Dimensions: Chair: Width 53 cm x height 80 cm x depth 55 cm -- Seat height 50 cm...

Dining table (2 Armchairs and 6 chairs) Year: 1900 Country: French Material: golden iron It is an elegant and sophisticated dining table. You want to live in the golden years, this ...

Wonderful set of 6 Chinese Chippendale chairs and matching table by Design Institute of America (DIA). Set features six matching ch...

Long table on column originating from China, made in around the 1920s with original color and patina. Very nice quality table. This product will be inspected thoroughly at our pro...

Mid-Century Modern Italian set of 4 bamboo dining chairs with original floral fabric cushions. All the binding of the chairs are made with leather laces. The chairs can become a s...

Beautiful tripod dining table model "Eros" from the Italian designer Angelo Mangiarotti from the 70s. The legs (independent) and the top are in Car...

Very handsome , woven reed table base w/ glass top, and 8 matching , woven reed chairs; 2 arm chairs, and 6 side chairs. Chairs and table base are wel...

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...

Space Age vintage dining room set from plastic in a chocolate brown tone reupholstered with light brown textile fabric. The dining room set con...

Richard Young for Merrow Associates. A chrome dining table with the original smoked glass circular top and a set of eight rare 160Z Merrow chairs which are arguably the best-lookin...

Elm wooden dining table and benches, France 1970s. Unique piece made in the 1970s by a woodworker in the South of France from old Elm wood, locally sourced in ...

An antique table with 4 bottle green chairs from around 1910. After renovation Dimensions: Table: height 70 cm / width 121 cm / depth. 90 cm Chairs: height 97 cm / height...

Maison Jansen Style Triple Pedestal Ebony Dining Table. Part of our extensive collection of over forty dining tables and chair sets as seen on this site, thus why we are referred to ...

"McGuire" 1970s dining room set in black lacquered rattan Complete of: – Trolley with extendable top bar cart server buffet (dimensions: 110 x 5...

Antique French Art Nouveau Green Flower Maple Leaf Garden Patio Dining Set - 5 Piece Set. Set includes (4) side chairs, (1) dining table, green painted ma...

A superb decorative set of four carved walnut Anglo Indian armchairs and matching extending dining table. Circa 1920. Handmade in solid walnut, with hand shaped table...

Arthur Simpson attributed, in the style of CFA Voysey. An exceptional quality English Arts & Crafts walnut extending dining table with wonderful figuring t...

This gorgeous dining set is produced by Glostrup Mobler from Denmark. The chairs are beautiful sculptured. The back of the chair and the joints has some beautiful details. It´s solid oiled scandinavian pine wood. The dining table has an ellipse shape. Unfortunately the extension top is missed so you can´t use the extension, only the normal measures. It contents 4x dining chairs...

A spectacular ‘Scimitar’ dining set designed by Bulgarian designer Boris Tabacoff for Mobilier Modular Moderne (MMM) in the 70’s. The chairs and table have a heavy chromed steel base...

A rare late 19th-century Japanese export square dining table with four matching corner chairs that stow nicely away underneath. The base with four outer legs and a central leg is uni...

Oak Dining Room Set from the Early 20th Century with Marble and Rattan Elements The buffet is three-door, with drawers on the door axis and a removable add-on unit. There is a mirro...

This vintage modern glass and chrome dining set is stylish and functional. A stunning chrome base under a beautiful glass tabletop is sure to enlight...

Oak dining set, Dutch Art Deco era, Hague school, 1928 Oval dining table in oak, on juxtaposed oval legs, Dutch, 1920s Rationalist dining chairs, set of four, with sculptural fro...