Walnut Dining Room Sets

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 ...

Exquisite refined Baroque Revival Sorrento inlaid and carved walnut round table with six baroque walnut chairs, hand carved. Artistic inlay with vario...

Spectacular dining set designed by t.h. Robsjohn-Gibbings for Widdicomb, it has the label in the bottom of the table. This table has two dropper leaf. The top is made of walnut, and ...

A large square Italian dining table designed by Paolo Barracchia. Featuring exquisite detailing including a thick brass band, double open legs and map...

Very rare danish dining room set incl. 6 cowhorn chairs, round / oval table and the matching cabinet by Svend Aage Madsen. The whole ensemble made in finest walnut. Table with retrac...

Custom table with beautiful barley twist legs and stretcher. Bread boards on each end. Can be made in a custom sizes and in a variety of woods, colors, finishes and range of distress...

Elegant mid century dining table, designed by T. H. Robsjohn-Gibbings for Widdicomb, American, circa 1950s. Clean lined design with elegant splayed legs. It expands from 58-78" width...

Royal House Antiques Royal House Antiques is delighted to offer for sale this sublime designer Andrew Varah eight person extra large dining table with matching suite of carver armch...

Dunbar Green & Green Expandable Dining Table & Consoles by Edward Wormley, 1959. The table folds open on each end and the center leaf then moves up and down to level itself. Table me...

Rectangular Art Deco dining table with two hidden butterfly extension leaves underneath. The table is made with nut veneer and show some beautiful lines and structure. Made in 1930s,...

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...

19th century Carved Burled Walnut Dinning Table with Red Velvet Arm Chairs.

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...

OOMA is not just a dining table. It’s an invitation, a multifaceted experience. First, it captivates the eye with its color. Matte or glossy, lacquer is omnipresent. Its line is rema...

We present Art Deco dining furniture that includes a table and four chairs. A set from 1940, designed by a famous Czech designer Jindrich Halabala, (a Czech designer ranked among the...

Organic Modern Gimonde Dining Table, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Gimonde marble dining table is a bold expression of exclusive desig...

Phenomenal Quality 8 Carved Dining Chairs Walnut Table 3x18" Leaves Overall 132" Long Dining Set MINT! Table Dimensions: 44" x 78" x 31" 3 x 18" leaves with an extended table length ...

“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...

Organic Modern Armona Dining Table, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Armona dining table draws inspira...

A drop-leaf console table opens to seat, six (6) for dining. Set complete with two banquette chairs and four side chairs.

The OOMA table reflects Reda Amalou’s search for a perfect balance between a pure line and the attention to detail. The proportions of the very thin elegant marble top, with its subt...

Organic Modern Armona Dining Table, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Armona dining table draws inspiration f...

Attributed to GAUTHIER-POINSIGNON & Cie, Dining room furniture in walnut and elm burl veneer decorated with fruits and plane tree leaves (Platanus orientalis) and bronze ornamentatio...

An absolutely stunning original Art Deco burr walnut dining table and chairs, dating from the 1930’s The quality is outstanding, this is extremely well made and beautifully designed...

Organic Modern Armona Dining Table, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Armona dining table draws inspira...

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.

We are proud to offer this exceptional piece of American Studio Craft history by acclaimed woodworker and artist Richard Rothbard. A one-of-a-kind, book-matched walnut slab dining ta...

The “778” model is an example of solid wood boards arranged to form a C-shaped frame. The table, with a top that opens, is supported by four trestles, two of which are a few centimet...

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 ...

Scuderia dining room set, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Composed of 5 mod. 783 “Kentucky” dining chairs...

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...

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...

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...

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...

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 ...

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...

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...

This is a handsome oiled-walnut dining set designed by Bertha Schaefer for M. Singer & Sons in 1952 and produced in Italy for the Singer Modern collection. The set includes a large o...

Tommi Parzinger Race Track dark walnut finish Hollywood inlaid dining table Parzinger originals, with two leaves 20” each.  

Royal House Antiques Royal House Antiques is delighted to offer for sale this exquisitely designed, hand made in England occasional dining table with Celtic design top and three Geo...

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...

Antique French Art Nouveau Carved Walnut Accent Chairs with Occasional Table - 3 Piece Set This exquisite three-piece set features Antique French Art Nouveau carved walnut accent c...

Antique Art Deco Dining Table with 6 Chairs (circa 1935) Description: This exquisite dining set, consisting of a table and six chairs, embodies the elegance and craftsmanship of th...

Available in single slab diameters of over six feet, the Harvest dining table by Taylor Donsker creates a visual anchor for any dining room or dining nook....

Palace set boulle We present the salon set Boulle, a living room set consisting of a table, 2 armchairs and 2 additional armchairs, The set isinlaid with copper and pearlmass, The se...

We are delighted to offer for sale this stunning Denby & Spinks Leeds circa 1920 Art Deco Burr Walnut inverted breakfront sideboard which is part of a large dining suite This piec...

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 ...

Impressive antique 19th century Italian Renaissance sideboard set of two. Made entirely of carved walnut wood. The carving work is specta...

We present dining set including a table and four chairs made in 1960 by a Czech designer Szuman Highly recommended item will be perfect complementation of the rooms in not only ...

The round dining table features a rustic Spanish-inspired design with a rich walnut-toned finish, decorative apron, and carved leg details. The tabletop is crafted from a softer mate...

set of 6 chairs in teak, white leather, metal and a table in aluminum steel and walnut the legs of the table are in gold metal the table has a slightly darker mark in the center of t...

Set of 2 Evermore extensions walnut 160 by Warm Nordic Dimensions: D46 x W5 x H85 cm Material: Oiled solid walnut and veneer Weight: 11.5 kg Also available in different colors an...

Antique table and chairs from the late 19th century, Northern Europe. Furniture in very good condition, professionally renovated. Chair seat...

Hello, We would like to offer you this fine walnut Biedermeier set of five chairs and the large round table. The set was made in Vienna circa 1825. Viennese Biedermeier is distingui...

We are delighted to offer this stunning Denby & Spinks Leeds circa 1920 Art Deco burr walnut inverted breakfront console table or sideboard which is...

They can be sold separately 19th century Baroque round table, extendable, restored with six Luigi Filippo new-upholtered chairs. Table measure cm:...

White Porcelain Dining Table Set with Matching Benches – Custom Handmade Furniture for Modern Interiors A contemporary statement in form and function, this white porcelain dining ta...

Set of 2 Evermore extensions walnut 190 by Warm Nordic Dimensions: D46 x W5 x H95 cm Material: Oiled solid walnut and veneer Weight: 11.5 kg Also available in different colours a...