Late 20th Century Dining Room Sets

This vintage set made in the 1990's showcases the innovative style of Josef Hoffman, a renowned architect and designer of the early 20th century. The set consists of stunning ebonize...

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...

Offering One Of Our Recent Palm Beach Estate Fine Furniture Acquisitions Of A 1980 Chromcraft dining game 5 piece set Chairs have casters and adjustable seat rocking tension and th...

Add a bold pop of color to your summer with this lime green patio set! Includes 4 Chinese chippendale style chairs with newly upholstered seats and brass finials, and round faux bamboo table...

Vintage Mid Century Modern Chrome Dining Room Set in the Milo Baughman Style manufactured by Scancraft Furniture, NY. Circa 1970s. The Table Features a polished aluminum frame with a...

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...

1 side board with two smoked windows, strap handles and chrome metal support, lacquered black marble top, sides and rear are covered with black felt and a table with sliding tray 87 X 120 X H 73 cm becoming 241cm trademark has Milano and 6 chrome chairs...

Mid Century Modern Scandinavian G-Plan Style Walnut Fold Down Dining Table and 6 Dining Chairs in Original Fabric - 7 Piece Set The wood will be cleaned up prior to shipping. Cir...

Mid Century Modern Lane Brutalist Paul Evans Style High Back Chair Dining Set - Set of 7 This amazing Lane Brutalist Dining Set in the style...

Nerone & Patuzzi dining table for Gruppo NP2, glass, iron and wood, Italy, 1970s. Designed by the Italian duo Nerone and Patuzzi, this dining table is a work of art. The base consis...

Vintage Pierre Chapo S35 “Banc à dos droit” or Straight-back bench executed in French elm combined with the T35 “Aban” dining table. As with all furniture ...

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...

3-piece Scandinavian modern dining set, table, and (2) benches made of pine designed by Gilbert Marklund for Furusnickarn feature unique details on the sides of table and benches, Sw...

Pencil Reed Rattan And Tessellated Stone Marquetry Pedestal Table And Pair of Matching Chairs set composed of a square pedestal table made in pencil rattan marquetry structure adorn...

ELODIA Sculptural Brass Cobra and Glass Dining Table. Beautiful patina to brass serpent snake bases. Glass top has a multifaceted/polished chip edge, which increases its ability to r...

TITLE Table and 6 chairs Hank Lowenstein Padua vintage, from the 1970s DESCRIPTION Table with oak frame and marble top, "Padova" chairs by Hank Lowenstein. Made in Italy around 1980....

Mid Century Rattan Dining Set with Six Chairs. Amazing cobweb designed back to these sculptural chairs. Covered in a neutral oatmeal chenille. Large oval glass top sits above the int...

Dining room set consisting of Giovanni Offredi for Saporiti dining table with Alberto Salvati & Ambrogio Tresoldi for Saporiti set of ten 'Dan...

A table and 4 chairs. Steel construction with an old silver patina.

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...

The Flysit chair was designed by Peter Opsvik in 1983, with a focus on product design as a means of solving real-world problems. This chair combines both back support and dynam...

Lapis Lazuli pietra dura table top with mother of pearl inlay in a compass rose motif. Sits on an black aluminum base and features 4 iron chairs ...

The midcentury Italian set of four chairs and marble table from the 1980s offers a blend of sophistication and luxury. The chairs have been thoughtfully reupholstered in green suede,...

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

Hollywood Regency Chinoiserie Chin Hua Ebonized Dining Set By Raymond K. Sobota for Century Furniture - 8 Piece Set This gorgeous Asian Style dining set...

The midcentury Italian set of four chairs and table from the 1970s, crafted in giunco wood, exudes a rustic charm and timeless elegance. The chairs feature a stylish and ergonomic de...

For FULL item description click on CONTINUE READING at the bottom of this page. Offering One Of Our Recent Palm Beach Estate Fine Furniture Acquisitions Of A 5 Piece Vintage Bam...

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

A dining set composed of four “Africa” dining chairs and an “Artona” table, designed by Afra and Tobia Scarpa for Maxalto in 1975. Made of walnut, burl...

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...

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

Absolutely incredible, and very stylish Brutalist dining table with an additional extendable leaf, and 6 chairs set made of solid beech wood. When the table is without the leaf it se...

A fabulous table and four coordinating chairs. Made by the iconic Brown Jordan. Part of their Classic ll series. The table retains the original label, the chairs come with a clot...

This handsome dining set features six hand-sculpted clear lucite side chairs. The six chairs are rendered in thick Lucite and are inset with back and seat cushions in royal blue velv...

Belgo chrome set consisting a table with 2 chairs - 2 armchairs Belgo Chrome is a Belgian brand which was known for high quality handmade luxuriou...

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

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

A solution for upper middle-class furnishing, with effect and impact. Visible quality and elegance of design. The set for three persons consists of: a table H 48 cm x diameter 119 cm...

This stylish vintage chrome dining set includes six matching Stendig style chairs with matching chrome frame dining table. Making a beautiful Mid-Century Modern statement in any sett...

Set of four High Style formal dining steel side chairs each featuring a gold wash stone finished with silver gray fabric coverings. Circa 1990.

A rare dinette set by famed French designer Pascal Mourgue (1943-2014), son of the legendary French industrial designer Olivier Mourgue (born 1939), best known as the designer of the...

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...

Italy modern chairs, bench and dining table in solid wood, 1980s Set composing by 3 chairs, a dining table and a bench, entirely in solid w...

Set of four sculptural "Costa" Model Dining Chairs, designed by Philippe Starck for Driade, Italy, circa 1980s. These chairs are being refinished and reupholstered and can be complet...

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

Vintage custom made dining chairs with armrests and dining table with a clear glass top. The chairs have a wooden seat. Beautifully man...

“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...

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

1989, USA, French Art Deco-inspired design. Beautifully constructed of bubinga and ebony, the table raised on open columned standard and central stepped plinth, with a circular inlai...

Vintage 5 Pieces Coastal Style Rattan dining set in the McGuire's Manner. Circa 1980s Features an intricate bent rattan fretwork in an antique washed white finish bounded by laced r...

Gorgeous all original dining set by Mario Botta for Alias, Italy 1985, composed of large dining table and 10x La Tonda chairs, excellent condition overall --Table and/or Chairs CAN ...

Mario Marenco dining room set, Postmodern, beech, tan leather, Italy, 1970s Impressive and tall chairs made in solid beech. Rectangular table with asymmetrical lines, also in sol...

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

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...

Giacometti inspired wrought iron Bakers Rack Available now and ready to ship. This piece is in excellent condition and has spent its decades...

The extremely rare Memphis style sculptural dining set is statement piece which is also comfortable and packed with personality! Just look at the lines and sculptural shape on this beauty! Just stunning, but then your eyes are immediately drawn to the stunning colors oval table top by Benjamin Le. Influenced by the mid 20th century designs. This mid century modern race track table...

"Alanda" model coffee table, design Paolo Piva for B&B italia, 1980s inverted pyramid structure in black steel , light signs of wear due to age Size cm 120 x 120 x 26 will be shi...