Animal Skin Dining Room Sets

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...

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...

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...

Mahogany wood, leather and bronze dining room set for 12 people. Argentina, 1938. Designed by the architect Alejandro Bustillo (1889-1982) for ...

A beautiful dining set or game table set. It consists of a chrome and brass based glass top table and 4 round stools wrapped in steel and featuring a leather top. The stools fit nice...

Chair measurements : Depth: 41cm Width: 55cm Heigh: 70cm Height to the seat : 50cm

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.

Enjoy this vintage dining room set designed by famed Danish cabinetmaker Kurt Ostervig. The set includes (5) dining arm chairs and a round, expanding dining table, all expertly craft...

studio Tetrarck design for Alberto Bazzani Italy in years 1970 complete set of the one table and four chairs original top glass of 0.6 inches tickness table measue 48 inches diamet...

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...

We are delighted to offer for sale this very well made, solid English Oak Habitat refectory dining table and eight Potocco leather and oak dining chairs This is a lovely, lightly used suite...

Dining room set containing Børge Mogensen for Fredericia Stolefabrik set of six dining chairs with Angelo Mangiarotti for Skipper 'Eros' dining table Børge Mogensen for Fredericia ...

Here we offer a set of three Dan Wenger designs dining chairs and glass top table. The leather can be chosen in black, cognac, red and dark brown. Frame is lacquered in black. Chairs...

The iconic Guarujá is a table designed by Jorge Zalszupin (1922-2020) in 1959 and produced by his company, L'atelier. A rosewood patchwork top rests over one concrete base finished with leather. This patchwork solution is present in other pieces designed by Zalszupin. Modern design taught us about using the material rationally, having the design as a tool to avoid waste. Aesthetically, the patchwork explores the different tones of the Brazilian rosewood beautifully, achieving a unique result. At the time, the Guanabara table was presented as a dynamic piece that could be used in the corporate spaces (as a meeting...

Mid-Century Modern Dining Set by Marco Zanuzo for Poggi, Italy, 1970s Chairs : 39x43x90 cm Sh 44cm

Transform your dining experience with this exquisite Complete Dining Room Set, featuring 8 CH29 Sawbuck Chairs designed by Hans J. Wegner for Carl Hansen & Søn, and a vintage AT 3...

This Ate Van Apeldoorn dining room set, comprising a table, three chairs, and three stools with leather seats, exudes the quintessential charm of 1960s Dutch d...

This elegant Scandinavian modern dining set consists of one large wooden table and nine finely crafted chairs. The table is a perfect example of minimalist design, constructed in two...

Pierre Chapo dining room set with 'T21D' table and set of six 'S11' dining chairs Pierre Chapo, dining table, model 'T21D', solid elm, France, 1981 This table is one of the early ...

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...

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...

The iconic Guanabara is a table designed by Jorge Zalszupin (1922-2020) in 1959 and produced by his company, L'atelier. A rosewood patchwork top rests over one concrete base finished...

A steel and leather chair with a comfortable seat, easily stackable to save space when needed. This version has a blackened steel frame, am antique brass backrest, and a granite leat...

Dining chairs made by british manufaktured G-Plan in the 1960s. Designed by Leslie Dandy. Made from solid teak. Wood elements have been cleaned and polished with Danish Oil. The foam...

1970's Italian dining set by Renato Zevi! Dining table in chrome and brass, very thick glass top. Six brass dining chairs upholstered in soft supple Italian leather. Stamped with th...

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...

H.W. Klein Teak & Cognac leather dining set for Bramin, Denmark 1960's, beautifully formed and crafted from teak and upholstered in cognac leather seats. This exemplary set exudes ti...

A beautifully grained walnut dining table with leather wrapped feet. Designed by Edward Wormley for Dunbar. Table measures 60" diameter and has a 20" leaf.

A rare set featuring a custom pink marble tabletop with peach leather-upholstered chairs. Acquired directly from the original owner and retaining its Knoll tags, this is believed to ...

Rare Blond Maple Round Expandable Dining Table 6 Chairs Set Set Denmark MINT! Table Dimensions Extended: 59x57.5x29 Chair Dimensions: 17.5 x 18 x 37

Dining set, table + 12 chairs, Northern Europe, ca. 1930. Very good condition, after professional renovation and replacement of upholstery with new leather. Wood: oak Dimensions: ...

Dining table with six chairs from the late 19th century, France. Furniture in very good condition, after professional renovation. The seats and backs of the chairs are covered with ...

1950's Mid-Century Modern wrought iron dining set by John Salterini, newly painted with new glass top and new leather upholstery seats.

Locus Solus set is composed of four chairs with a structure in tubular steel a seat in padded leather and a table with a frame in tubular steel and a glass table top. The Locus Sol...

An Art Deco six seater dining suite by Betty Joel. Australian walnut veneered table with curved stepped pedestal base. Six solid walnut dining chairs with green leather re-upholstery...

Modus dining set designed in 1961 by Kristian Vedel for Søren Willadsen, Denmark. Hardwood with stunning wood grain and original black leather upholstery. The set consists of a recta...

Stylish and elegant mid century modern Jatoba Arne Vodder dining room set. Elegant early 1960s dining room table and chairs, model 422, designed by Arne Vodder for Sibast Denmark. T...

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...

Structure: Solid American walnut with metal bars and end caps in brass available in different finish. Top : Available in a wide choice of exclusive marbles , or in solid American...

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...

Mid-Century Modern round glass top dining table six chairs bamboo dining se by McGuire. Outstanding craftsmanship all bamboo parts are bonded with two differ...

- made of solid EWalnut and leather - made by William Pagden furniture maker in Netherland - quality craftsmanship - Dining table signed by author - Chairs: H:102 W:47 D:60 /...

On offer on this occasion is a sublime, immaculately-presented suite consisting of a "Florence Knoll" Round Dining Table in "Carrara" Marble and 4 "Brno" Flat-Bar Armchairs in Ivory ...

Hello Friends, and welcome to another unmissable offering from Lord Browns Furniture, the UK’s premier resource for fine Sofas and Chairs. On offer on this occasion is a sublime, immaculately-presented “Max SMTR30” Dining Table in Grey Oak with a Bronzed-Nickel Painted-Base by the leading Italian Interiors House, B&B Italia, perfectly complimented by 10 B&B Italia “Maxalto” Chairs in Mid-Brown “Gamma” Leather and Grey Oak. As you will no doubt be aware by your interest in these divine Citterio creations, B&B Italia furniture is the epitome of contemporary European furniture design, is of peerless quality, and exhibits detailing and execution of the highest standard. In a world of temporary pleasures, B&B Italia create beautiful furniture that remains a joy forever. This suite is in superb, impeccably-maintained condition, having seen light, regular use in its previous home, and is entirely free from fault, flaw or damage. Its hugely handsome order reflects the TLC and considerate use afforded it in the past but, as you would think normal when considering the nature and colour of this particular wood, leather and finish, it does possess a small number of barely-visible and largely-inconsequential marks to the table top, base and chairs as you might expect. Supplied with a huge glass-top too which adds totally-different appearance to the table top if employed, whilst adding an extra layer of protection and durability too. For the avoidance of doubt, please view the numerous images provided to confirm the superb condition and appearance of this gem. Clearly not in perfect condition (it is not far-off though) but a true classic of modern furniture design presented in as-good and lightly-used condition as i suspect you are likely to find. Whilst it could not be considered pristine due to the reasons stated above, it is certain to meet the requirements of all but the true perfectionist and, for someone looking for a dining suite of peerless design and execution to position at the heart of their home, it is truly heaven sent! Without question, this superb table and chair group...

Very rare seating group model Scimitar designed by Preben Fabricius & Jørgen Kastholm. Produced by Ivan Schlecter in Denmark. Dimensions table (W x D ...

Set of 4 Mid Century Totem dining chairs by Torstein Nilsen for Westnofa with Italian design dining table .Norway 1980s Beautiful vintage Set of 4 dining chairs, with table ,model Totem, by Torstein Nilsen for Westnofa, Norway. They are in black wooden fram with feathering slats back, between the slats red wooden balls. 2 chairs seats are black leather other 2 is in dark grey Leather furnishing. Dining Table is a very special and luxurious vintage Italian design piece. It’s from 1980s It’s the combination of Black metal hexagon-shaped legs. Spacers in copper and beveled glass panel complete its design. It will be the accent of any dining room. Dimensions Chairs width 55 cm Seat height 51 cm. Total depth 56 cm Total height 87 cm Height arm rests 65.2 cm. Table -120 cm x 120 cm Height 72.5 cm Year -1980's. In very good condition with minimal wear You can order 4 set chairs...

We are delighted to offer for sale this exceptionally rare original vintage Giancarlo Vegni designed for Fasem Italy dining table and Net chair suite A very good looking and well ...