20th Century Dining Room Sets

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...

Inlaid Salon Set by Vittorio Dassi and Piero Del Grande for Dassi Mobili Moderni, 1950s – Set of 12 An exceptional and extremely rare salon set design...

Mid-Century Modern Lucite and thick round glass tabletop dinette dining or game set. 16 x 19 x 42 chairs.

Vintage Italian Directoire X-Back Wrought Iron Acorn Finial Dining Set - 7 Pc Set. Listing includes (6) side chairs, (1) rectangular table with faux marble gray laminated top. Set ha...

On offer on this occasion is one of the most stunning, dining set you could hope to find. This is an ultra-rare opportunity to acquire what is, unequivocally, the best of the best, it being a most spectacular and beautifully-presented chairs. Outstanding design is exhibited throughout. Memphis style sculptural dining set...

An original 1970 vintage tulip dining set by Eero Saarinen for Knoll. Saarinen's tulip design combines grace with practicality. The rare Rio...

Wrought Iron Bistro Cafe Table Available now and ready to ship is this vintage wrought iron bistro cafe table in the style of Dorothy Draper. Beau...

Beautiful Mcguire Dining set with 2 armchairs, 2 side chairs, and a circular dining table with a glass top.

TABLE: Frank Gehry, the ‘gratuitously eccentric’ architect behind the Guggenheim Bilbao gained attention in the 1970s with his ‘Easy Edges’ furniture series (1969-73). Constructed i...

Icon of the Memphis Milano Movement. A set of four Ettore Sottsass Mandarin chairs for Knoll. Black Alcantara upholstery. Arms in red lacquer. Additionally, a Carrara marble round pe...

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...

Absolute marvelous Chinese Ceramic Table Set in very good condition. Set contains 1 table and 4 stools, all in bleu and red dragon figures. 1 stool has a little chip, as you can se...

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...

The term Brutalism is a rough translation by British architectural critic Reyner Banham of béton brut, words that the pioneer modernist architect Le Corbusier used to characterise ar...

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...

Mid-century modern Arthur Umanoff Granada wrought iron dining set. Table has intricate wrought-iron base and glass top. With six wrought-iron ch...

Very Fine All Pegged Joints Solid Oak Dining Chairs Table Set MINT Table Dimensions: 35” x 66” x 29” Chair Dimensions: 22” x 24” x 34” Seat Height: 17”

Introducing a truly unique and magnificent British Art Deco dining set from the 1920s, an embodiment of luxury and timeless elegance. This set, meticulously restored to a shellac pol...

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

1950s Maurice Bailey Monteverdi Young Card Table And 4 Maurice Bailey Chairs Set. Maurice Bailey For Monteverdi Young Leather Top Card Table and 4 Upholstered Chairs. Leather Top Has Some Wear And Use Throughout The Years Of Gin Rummy. Original Upholstery Is In Excellent Vintage Condition. Construction And Sturdiness Of The Chairs and Card Table Are In Excellent Vintage Condition. FYI: This Maurice Bailey For Monteverdi Young Card Table Set (And Many Other Maurice Bailey Items At The Time) Was Once Owned by Famous Architect Maurice Fleishman Purchase At His Beautiful Home / Estate . As a practicing architect with an office in Beverly Hills, California until his "unofficial" retirement in 2002, Maury was best known for his "mid century" modern style of civic buildings most notable being the Santa Monica Municipal Courts (1968), Beverly Hills Municipal Courts (1970), Malibu Administrative Center (1970) and the Los Angeles Criminal Courts building (1973) And He designed the Marina Del Rey...

MINT Country French Parquetry Top Table 6 Dining Chairs 2X22" Extension Board Leafs Table Dimensions: 46" x 76" x 30" 2x22" leaves with an extended table length of 120"

Midcentury steel Tanker dining table and chairs set features a table and four chairs made by Steelcase. Table: 30" tall X 30" Wide X 45" Dee...

Tulip round dining table designed by Eero Saarinen in 1957 and manufactured by Knoll in 1967. Composed of a white lacquered pedestal and a tabletop made of Carrara Arabescato marble...

Danish drop leaf table with storage for four chairs. Teak grain leaves open up to over 5 feet wide. Tambour door cabinet holds four folded...

Woodard vintage midcentury black wrought iron and marble dining set with upholstered chairs. A shapely cone form pedestal with a lattice pattern on a circular base supports a new sc...

Mid-Century Modern; Hollywood Regency; Dining Room Set; Dining Area; Dining Chairs; Dining Table; Italian Design; 1970s, Vivai del Sud Inspired; Wood; Glass; Geometric Shape; 1950s; ...

This is a cute little boho chic bistro set. The top of the table is rattan wove over a metal frame. The chairs are metal with beautiful red cushions for comfort. The backs of the cha...

Vintage Brutalist Ilana Goor Style Iron & Glass Dining Set. Listing includes a Large Glass & Iron Dining Table and 8 Iron Chairs with Distressed Tooled Leather Seats and Backs. Table...

“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...

On offer on this occasion is one of the most stunning, rare, handmade and crafted rattan dining set you could hope to find. Outstanding design is exhibited throughout. The beautiful ...

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...

Wonderful wicker Table & Bench Set in the style of Danny Ho Fong Produced by Calif-Asia - 1960's Angled iron legs with intricate weaved patterned top indicative of the quality prod...

Very rare vintage, untouched and weathered dining set designed by Preben Fabricius and designed for Interplast. We offer 4 stackable chairs and a dining table. This cool space age ...

Elevate your dining experience with this Vintage MCM Wrought Iron Outdoor Dining Set of 5. Featuring sleek lines and mid-century modern style, this set...

For sale is this very nice vintage dining set that includes four Burke chairs and table, The table measures H 29.5” W 38”

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.

Exquisite Planner Group dining table and four 'bowtie' chairs in black lacquer by Paul McCobb for Winchendon. The dining table features long splayed and tapered legs joined by elegan...

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...

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

This listing is for a Dining Suite in desirable chrome cityscape and white leather. Includes a dining table (not pictured at this moment) with two armchairs and six side chairs. Dini...

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

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 ...

On offer on this occasion is one of the most stunning, dining set you could hope to find. This is an ultra-rare opportunity to acquire what is, unequivocally, the best of the best, i...

Rare dining set in patinated masur birch. Dining table (model 91) and four chairs (model 611). Maker Huonekalutehdas Korhonen Oy. Table size 125 cm diameter.

Dining table and set of six chairs is an original design furniture realized by Umberto Mascagni in the 1950s. The set is composed...

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.

Midcentury, Hollywood Regency, faux bamboo, café dining set consists of two cast aluminum side chairs and a table base for indoor and outdoor use. The ...

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...

Vintage Mid-Century Modern 5 Piece Open Metal Wire Cone dining set In The Style Or Likeness of Verner Panton. This 5 Piece White And Black Open Metal Wire Cone Dining Set Is In Excellent Vintage Condition. Four White Open Metal Wire Cone Swivel Dining Chairs, White Open Metal Wire Cone Design With Black Leatherette Seat Cushions. The Dining Table Is A White Open Metal Wire Cone Base With Original Black Stone Like Table...

Conference or dining room set consisting of Fabiaan Van Severen dining chairs with Bruno Mathsson and Piet Hein for Fritz Hansen Super-Ellipse table Fabiaan Van Severen, dining ch...

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...

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...

Salterini Dining Seating 7 Piece Set Hard to find 60 inch table designed by Salterini. Seating for 6 people. Signature Salterini outward facing feet and floral motif. Enjoy this vin...

Danish dining set designed by Rud Thygesen and Johnny Sørensen for the publisher Magnus Olesen in the 1970s in Denmark. Really nice work on the bentwood base with a very clean design...

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...

Atelier C. Demoyen, dining table with six dining chairs, solid elm, France, 1970s Atelier C. Demoyen (Claude de Moyen) gained prominence as a workshop recognized for crafting, among...

Maurizio Tempestini for Satlerini Patio Set, White Reed Enameled steel 1960s. Rare set includes 4 lounge chairs and coffee table. Original finish. Lovely and relaxing alternative to ...

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...

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...

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...