Mid-Century Modern Dining Room Sets

A superb piece of 1970's design by Italian legend Gianni Ruffi. This table and bench set has such a clever concept. The whole thing has been exaggerated, from the thickness of the be...

1970s dining set by Rainer Daumiller, crafted entirely from solid pine. This timeless ensemble comprises a robust round dining table and four accompanying stools, each bearing the un...

Circa 1970's Romeo Rega design for Mario Sabot dining table and 4 chairs. Lovely combination of brass, smoke glass and wicker trimmed in chrome make this set a standout in any decoru...

Wonderful set of 6 chairs. Two of the chairs are armchairs for each end of the table. The complete set consists of eggshell-white painted bamboo wood paneling. Inside the bamboo stic...

Unique "Paracarro" model dining table with a set of four chairs. It was designed by Giovanni Offredi and produced by Saporiti in Italy during 1973. Based on a prototype project, i...

Dining room set consisting of ten S11 dining chairs with Aban T35D dining table by Pierre Chapo Pierre Chapo, set of ten dining chairs, model 'S11', elm, leather, rope, France, cir...

A vintage model 83 dining table by Alvar Aalto for Artek made of Finnish Birch ply & 8 model 66 chairs in the same wood. This set is over 20 years old but the exact production date is unclear. There are no stamps or marks related to Artek but the build quality and features are enough to verify its authenticity. The condition of the set is good, the table and chairs are all very solid with minimal dents or chips. There are a couple of chairs showing signs of more use than others, however all seat conditions are visible in the photos provided. There is one small mark on the table top which has been pictured with regular house keys...

1970s MCM RUSSELL WOODARD Style Spun Fiberglass Outdoor Dining Set Set includes 4 swivel rocker armchairs with cushions, dining table with glass top. Fab...

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...

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

A stunning vintage modern Danish teak pedestal base dining table with two leaves by Skovby Mobelfabrik. This attractive set caters to many with the ...

Afra & Tobia Scarpa for Maxalto, Artona dining table with 'Africa chairs', black leather, walnut, ebony, and brass, Italy, the 1970s the Africa d...

Dining room set containing Angelo Mangiarotti for Skipper set of six chairs with Pierre Chapo dining table model T21D Angelo Mangiarotti for Skipper, set of six chairs, model 'Tre ...

Late 70’s Pacific Green dining suite Made from coconut palm wood, leather and steel. All in very good condition. We would consider selling the table and chairs seperatly if you woul...

A bentwood table and four chairs designed by Czech architect Jan Bočan for the Czechoslovak Embassy in Stockholm. Designed in 1970 by Jan Bočan, Jan Šrámek, Zdenka Rothbauer and Jiř...

This dining set is a fully original set that attributed to Boris Tabacoff for 'Mobilier Modulaire Moderne' (MMM) from France. Boris Tabacoff, a French designer of Bulgarian origin. ...

Maison Regain, dining room table, solid elm, France, 1970s Beautiful dining table by Maison Regain. The base is expressed through clear lines and symmetrical features. The strict an...

Guido Faleschini for i4 Mariani, dining or conference table, leather, wood, metal, Italy, 1970s, with Giovanni Battista Bassi for Poltronova, set of ten armchairs model 'Elisa', velv...

Mid-Century Modern; Italy; 1970s; Hugonet; Dining Set; Modernist; Paris; France; Plexiglass; Bamboo; Hugonet "Sea Side" dining set - a beautiful embodiment of midcentury modern eleg...

Danny Ho Fong, the king of wicker designed this dining set with 6 stools. Dining table base and stools are made of iron. The table top is a strong wicker structure, with a thin glas...

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

Round Table T 21 E Round SFAX Pierre CHAPO 1979 In French Elm. Table diameter 160 cm with a thickness of 7 cm, central leg in removable beam, 12 place settings. in a very beautiful p...

One of a kind American Studio craft birch blonde dining table with 6 chairs. Beautiful carved wood dining chairs and dining table. The oval style shaped dining table with detailed sc...

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...

Incredible mid century modern spun fiberglass dining set by Russell Woodard. Set features 4 chairs on coasters with a glass top dining table. Chairs still have the original “W” logo ...

Mid-70's Set of tub chairs and table. Apparently custon designed by an architect for his own home. Wooden frames on swivel bases. Table is a laminex top on polished chrome legs. One ...

Set of Eero Saarinen for Knoll set of six 'Tulip' armchairs with Centro Progetti Tecno round dining table Eero Saarinen for Knoll, set of six 'Tulip' armchairs, fiberglass, aluminu...

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...

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...

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...

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...

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

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...

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...

This table and 6 chairs from 1970's Italy is attributed to Guiseppe Rivadossi, but the piece is unsigned. The solid walnut table base and chairs hav...

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...

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...

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...

“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...

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...

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...

Welded polychromed and patinated steel "skyline dining" table by Paul Evans. Welded signature and date to base ‘Paul Evans 73’. Dimensions of the base: H:29 W:40 D:18 in. USA c.1973 ...

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 ...

This set of table and chairs was designed by Willy Rizzo for Mario Sabot, in Italy during the 1970's. The chairs are in lacquered wood, steel and reupholstered with a synthetic leath...

Mid Cent Rattan / Cane Dining Table & 6 x Chippendale Style Dining Chairs, 1970s Magnificent mid century rattan / Cane set of six vintage Chinese Chippendale style dining chairs plus matching table by ‘Angraves’ from the “Invincible” range. Brown in colour. The Table has a 10mm Glass top with polished edges. The chairs and table have cane lapping on all joints and other areas in abundance, the seats of the chairs are heavily woven wicker. In great condition Plaque reading: Angraves, Invincible, Brook Street, Thurmaston, North Leicester Excellent quality and craftsmanship, in great condition. Please note these are made from natural materials, so they may differ slightly in finish and colour. Angraves of Leicester: manufactured high class cane furniture in Britain for almost a century. From 1912 through to 2011, when the company along with its highly skilled craftsmen were bought out by Soane Britain...

German architect turned designer, Rainer Daumiller, popularized these playful pine dining sets through the Danish brand, Hirtshals Savvaerk, in the 1960s and ‘70s. Designed to be fun...

1970’s White powder coated patio set by Russell Woodard. Set consists of two arm chairs, two side chairs and table with glass top. Newly powder coated white, new glass top and new yellow with green thread Sunbrella cushions...

German beer garden wood folding table with two wood folding benches. Sturdy and well made wood surfaces and metal folding legs. Folding mechanism is...

Danny Ho Fong mid century iron and cane dining table with 6 stools The dining table measures: 73 wide x 30 deep x 26 high, with a chair clearance...

Very nice dining room set by Giotto Stoppino from the 1970s in Italy. This set consists of a dining table and four matching dining room chairs. The table has a tubular, chrome-plated...

This gorgeous dining set is manufactured by Chromcraft from USA. It is a beautiful example of the space age era. The beautiful tulip swivel chairs are beautiful sculptured with a thin body shape. The shell of the chair is made of Lucite opak acryl and the base of aluminium and acryl. The seati g is made of aniline black leather. The dining table is made of glass and leather and the feet is in acryl and aluminium. It contents 4x dining chairs...

Richard Young for Merrow Associates. A chrome dining table with the original smoked glass circular top and a set of eight rare 160Z Merrow chairs which are arguably the best-lookin...

This vintage modern glass and chrome dining set is stylish and functional. A stunning chrome base under a beautiful glass tabletop is sure to enlight...

Mid-Century Modern Italian Bamboo game table set. The Table top with green cloth is endorsable to become a normal dining table equipped with two bamboo seats...

Elm wooden dining table and benches, France 1970s. Unique piece made in the 1970s by a woodworker in the South of France from old Elm wood, locally sourced in ...

Beautiful large round wenge dining table with 8 matching chairs in the style of Jules WABBES. The table can be extended with two original leaves. If there are 6 chairs at the table, ...

Mid-Century Modern Italian set of 4 bamboo dining chairs with original floral fabric cushions. All the binding of the chairs are made with leather laces. The chairs can become a s...