European Dining Room Sets

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...

For sale is a good quality antique Queen Anne style burr walnut dining suite, consisting of an eight seat dining table, matching sideboard and set of 6 walnut chairs. The sideboard h...

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...

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...

Atelier S.L Prestige, Biot, France 2012. Set composed of a wrought iron and patinated iron table, chapped and speckled maple top accompanied by its two chairs. The thick iron bases a...

Medea dining circular table, designed by Vittorio Nobili for Fratelli Tagliabue in 1954. Made of teak iron and brass, excellent vintage condition. Reported at “Compasso d’Oro Prize...

Curved chocolate lacquered classe bar by MOWEE Dimensions: D100 x W100 x H115 cm Material: Polyethylene and stainless steel. Weight: 31 kg Also available in different colors, whe...

A beautifully ebonized mahogany and rose marble dining table by Arredamenti Borsani Varedo,whit original label, Italy, circa 1950. The wonderf...

An Elegant And Timeless French Late Art Deco / Modern Neoclassical dining room table in cherry by Andre Arbus. The table without leaves is 72" long....

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

French Art Deco table in zebrawood; 6 chairs with original brown leather upholstery. Table signed Majorelle Nancy.

Organic Modern Armona Dining Table, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Armona dining table draws inspiration from the serene landscape of A...

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...

Manuttii Outdoor Table & Radoc Chair set. Manuttii Torsa Table in brushed teak nero & travertin geo Designed by Stephane De Winter Torsa is the epitome of sophistication: slender...

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...

A beautiful pair of vintage 1960's Italian chairs with elaborately detailed backs in the design of a sheaf of wheat along with the original bistro table. Raised on gorgeous slim leg...

THE FOUR CARDINAL POINTS Rosenthal Kunstmöbelreihe This noteworthy design is the work of Bjørn Wiinblad. The furniture pieces were produced in a limited edition of 300 in 1976. E...

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 ...

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...

Mobichalet, set of table, chair, and stool, oak, beech, Belgium, 1950s This rustic set will come forward nicely in a relaxing atmosphere, like a patio or a studio space. The brutali...

High cabinetry dining room set, consisting of: 2 sideboards, a mirror, table and 6 chairs. The sideboards are moved, with finely carved feet in an elong...

Brutalist sculptural dining table and 4 chairs, by De Puydt. Belgium. Heavy pieces. Highback chairs. Set is made of solid oak wood and constructed with visibl...

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...

Exceptional Danish Modern dining set having four chairs and a table. Designed by Nanna Ditzel, made in Denmark by Frederica Stolefabrik circa 1993. Very rare to find a set still in...

French dining room set (table and chairs): - This stunning 1930s dining table, inspired by the renowned designer Jules Leleu, features exquisite diamond-shaped marquetry crafted. T...

Dining table designed by Warren Platner edited by Knoll, composed of a steel structure with welded rods creating curved and circular shapes. Tabletop made of Carrara marble, USA, 197...

The top with beautiful rich colour for which cherrywood is known figuring and the edge rounded. In four sections as cherry trees are slow growing. The frieze unusually moulded and ...

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...

Inspired by Mies Van der Rohe's iconic Barcelona Pavillion, the Rivington Dining Table is a striking ode to European 20th-century design through its bold use of asymmetric shapes and contrasting materials. The smooth curvature of the pedestals is complimented by an angular table top, distinguishing itself as a minimalist and contemporary counterpart to some of Davidson's classic designs. The Barcelona Pavillion is a harmonic exploration of contrasting shapes and colours, echoed here through the similar contrast between Sycamore Silk and Sycamore Black wood finishes. Able to accommodate any number of guests, this handcrafted dining table is available as an 8, 10 or 12-seater. Elegant and innovative, the Rivington Dining Table sets the aesthetic tone for a design-forward and luxurious dining room.

Vintage Oak Dining Table Set From France, Circa 1960. Solid burl wood construction with light wear and use.

Exceptional rationalist set including: - a sideboard with mirror H99.5X243Xp53 mirror H152. - bar sideboard with riser H99.5X202Xp53 with riser H.120. - a table H80.5X191X91 - 4 Chai...

Painted Wrought Iron Garden Set. No Top Four Chairs Chairs: H 39.25" x SH 19" x W18" x D 17.25

Dining Set by Goons Dimensions:   Table: W 130 x D 50 x  H 74 cm Chair: 35 x 40 x 95 cm Materials: Wood. Goons is located in Paris, France. All of their designs are made out of wood.

Dining Table in Rosewood by Ole Wanscher, 1945 Additional Information: Material: Rosewood Style: Mid century, Scandinavian Produced by cabinetmaker A.J. Iversen in Denmark Dimension...

Comprised of a beautiful parquet table and six upholstered chairs, this oak dining set pairs versatility and style to create a stunning set. The...

Art Deco table with clean, rational lines. The rosewood base gives way on the front to green aniline-stained maple. The top is made of rosewood feather laid open. The piece showcases...

Dawn on the Battlefield The battle has been going on for more than the first hour. This is an important battle. A battle between you and your enemy. You have expended much energy. Th...

Wonderful and unique wood dining set of unusual design, comprised of a table and four chairs. The chairs have curved cockfighting-style backs with an interesting geometric pattern...

Tablecloth by Davide Medri Materials: mirror mosaic (silver) Also available in gold. Dimensions: H 90 x D 120 cm Davide Medri was born in Cesena on August 7th 1967 and graduated at ...

Rare and very nice example of the "Bossche school" furniture by architect Jacques Uppelschoten, made for his own house at the Raffendonkstraat 20 in Oirschot. Dom Hans van der Laan s...

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...

Oskar 705 Scalene Triangular Table by Cassina. Designed by Isao Hosoe in 1991. The crystal glass tabletop is supported by three conical legs upholstered in Russian red saddle leather...

Designed by Gijs Bakker in the early 1970s for Dutch manufacturer Castelijn, the “Strip” dining set is an iconic expression of radical minimalism and postmodern sculptural form. Comp...

Elegantly described as the bastion of Portuguese luxury, the sophisticated Cortez Dining Table exhales the splendor of the uniqueness of the kings ...

Danke Galerie is pleased to present the latest creation from cabinetmaker Vincent Vincent, a round table in burnt solid wood, entirely handmade in Lyon. ...

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...

Art Deco dining room consisting of one large sideboard, a dining table and six side chairs. The furniture is ebonized. Decorative fluting on the frames and front of the sideboard uni...

A very imposing and good quality Regency period Mahogany triple pedestal dining table, with two extra leaves, having this wonderful figur...

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 ...

Mahogany dinning table louis XVI style with eight chairs with bronze This beautiful mahogany table surrounded by a bronze gallery ,at each corner of the belt there is a bronze abov...

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...

Post modern Gem 10’ long curved oval dining table with (2) leaves. High gloss acrylic top with a beautiful taupe tan color with 2 dark red maroon stripes. Very nice arched base with ...

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...

“Big Iron/Running Gun” Dining Room Set, Iron, JAMES VINCENT MILANO, Italy, 2023 “Running Gun” Dining Table, Iron, JAMES VINCENT MILANO, Italy, 2023 Irregular hexagonal top. Tr...

A set of four dining chairs designed by Bernhard Pedersen & Son, manufactured in Denmark in the 1960s. The table comes from Denmark and was manufactured in the 1960s. The table has o...

Dining set consisting of four chairs and a table from the 1960s. Furniture imported from Denmark. The table was manufactured by Haslev Møbelsnedkeri, the underside of the top has or...

This dining set by Vittorio Dassi, dating from the 1950s, is a refined example of Italian mid-century modern design. The set includes a glass-top dining table paired with four sculpt...

Dining table set table + 4 chairs by Marta Stama, Poland, 1930s The chairs and the table were designed by Marta Stam, a Dutch architect and Bauhaus lecturer, and were made at the Ea...

Discover the Cranston Dining Table from Davidson London - an Art Deco-influenced dining table with a contemporary twist. The Cranston takes inspiration from 1930s celebrated furn...

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...