Europe - Dining Room Sets

An exceptional antique burr walnut Queen Anne style dining table and eight chairs. This was made in England, it dates from the 1920’s. The quality is absolutely superb, the chairs a...

Stunning walnut dining table and six matching dining chairs by Pier Luigi Colli, handmade by the famed 'Fratelli Marelli' atelier in Cantu, Italy circa 1950. The dining table is ...

Modern Howlite Travertine Dining Table 4-Seats, Modern Collection, Handcrafted in Portugal - Europe by GF Modern. The Howlite travertine dining table anchors the room with quiet con...

This is an elegant dining set that comprises an antique Regency Revival triple pillar dining table, by the renowned Edinburgh cabinet makers Whytock & Reid, Circa 1900 in date, a...

Dining Table Spheres with aluminium and brass structure, brass gold-plated spheres and black lacquered aluminium spheres all joined together. Also available on request in side table...

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

- Good original condition with some signs of use - Leather upholstery in good condition with some signs of use - The table dimensions : H: 74 W: 121 D: 77 cm

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; ...

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

Danish extendable rosewood dining table with eight “Eva” chairs (Very comfortable seat and rare to find in rosewood) Designed by Niels Koefoed and manufactured by Koefoeds Hornslet...

English sliding table / centre table / demi lunes. Set of 2 semi-circular tables. Can be used as 2 side tables or joined together as a round coffee table. Can be extended with 2 ext...

Pierre Chapo Set – 6 S28 Chairs, T01D Table (+ a Pair of Stools in the Style) This timeless and elegant set includes: 6 S28 Chairs: Made of solid elm, these chairs stand out for th...

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...

Giuseppe Scapinelli (1891-1982) was an Italian designer, born in Modena, but who lived his whole life in Sao Paolo, Brazil. There he founded both a furniture company, Fábrica de Móve...

We are delighted to offer for sale this very fine suite of ten original RRP £15,500 Burr Satinwood Giorgio Collection dining chairs This set is part of a monumental £50,000+ dining room suite which includes the extra large extending table...

Stylish and elegant mid century modern Mahogany Helge Sibast Jatoba wood dining room set. Elegant early 1960s dining room table and chairs, model 422, designed by Helge Sibast for ...

This is  a fabulous Vintage Regency Revival dining set comprising a triple pillar dining table  and a set of sixteen bar back dining chairs, mid 20th Century in date The table is ma...

“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...

1970s Danish Mid-Century Modern dining suite.Crafted from warm teak wood, the set features an extendable dining table accompanied by four matching chairs. The central tabletop and bo...

We are delighted to offer for sale this sublime Stewart Linford handmade in England Burr Yew & Elm extending dining table and eight Windsor chairs RRP ...

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 ...

Made in Italy, 1950s. It features a maple and beech frame and brass feet caps. This table has a glass top that underneath has its original marble patterned film. It is a vintage pie...

Originating in China and manufactured around the 1920s, this long columned table is an exquisite example of early 20th century Chinese furniture...

Mid-Century Steel and Glass Dining Set, Table And 4 Chairs, Euro International Consisting of a round table with stainless steel base and smoked glass top and 4 chairs. Very beautifu...

This is a fabulous high quality vintage flame mahogany Regency revival twin pillar dining table that can seat 10 people in comfort and dating from mid-20th century. The table is mad...

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...

A rosewood dining table and chairs by Hans Brattrud for Hove Mobler, Norway, 1960s. This stunning set consists of four rosewood 'Scand...

Studio Totem (in the manner of) Set of a table and 8 chairs, Ca. 1983 Made for the Saint-Étienne Cultural Center in France Gray lacquered metal and yellow and gray laminated wood H. ...

Large and round marble table with feet in the shape of lions, Italy.

This dining set by Pierre Gautier Delaye, circa 1965, pairs one green beechwood table with eight matching “Coffee Bean” chairs for a striking look. The table’s design features two el...

This Space Age bistro set dates from the 1970s and reflects the playful and futuristic design language of the period. The set consists of a round glass-top table and two matching cha...

This is  fabulous Vintage Regency Revival dining set comprising a triple pillar dining table  and a superb set of fourteen swag back dining chairs, mid 20th Century in date The tabl...

On trend vintage Italian Mid Century Modern dining set Eight Effezeta chairs surround the sleek dining table Very comfortable to sit at, chairs are on m...

Set of Six Medea Chairs Designed by Vittorio Nobili for Fratelli Tagliabue, 1956 This set of six Medea dining chairs features: - Elegant beech plywood shell construction - Sculptura...

Set of 2 Belenus and La Luna tables by Gisbert Pöppler Dimensions: D L 240 x W 101 x H 73 cm (Belenus) / D 167 x W 101 x H 73 cm (La Luna) Materials: High gloss lacquered wood, smoked oak A Referencing the Latin Moon and the Celtic Sun, this extendable dining table duet comes in two connecting pieces of smoked oak coated in high gloss lacquer. Like perfectly paired lovers, each piece can stand on its own, while also fitting harmoniously together with its partner. The Belenus table stands on solid rounded legs and connecting oval shaped feet that are a contemporary take on outré Nordic design, complete with a playful Viking feel. Its oxblood red tabletop offers a gently curved shape that, when locked up with its extension, creates a noticeable “waistline” where the two pieces meet. In contrasting petrol blue La Luna, with its folding half-moon shape, functions as an abstract sideboard...

Gijs Bakker is actually best known for his jewelry. This ‘Strip’ table and 6 Chairs is one of the few known pieces of furniture that he designed. Perhaps that is also the reason wh...

CC dining table, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. Designed by Rute Martins for the Contemporary Collection and inspired by nature’s organic r...

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...

Here we see a decision to project the universal ideals of modernity onto Indian reality. However, this piece was inspired by North Indian culture, as well the cosmic and spiritual I...

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...

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

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...

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...

Exceptional and richly decorated Italian dining room suite in the French Napoleon III style and inspired by the celebrated Boulle tradition. The set is composed of a large dining tab...

Art Deco Black Walnut Dining Suite to Seat 6 - a Double Pedestal Table with Stylistic Shaped Top and 6 Upholstered Chairs with Outswept Legs - Table 72" x 36" x 30.5"h Chairs 19"w x ...

Welcome to the timeless legacy of John and Elinor, the beloved founders of the iconic McGuire Furniture, a San Francisco-based institution that has been synonymous with craftsmanship and creativity since its inception in 1948. As a dynamic couple, their lifelong partnership laid the foundation for the distinctive McGuire style, a harmonious fusion of natural materials such as rattan and hide with the sleek lines inspired by Asian aesthetics. Discover the essence of their visionary work embodied in this exquisite dining table and matching chairs—a testament to their enduring impact on design. Crafted in the latter part of the 20th century, this McGuire dining set showcases the hallmark bamboo frame that is quintessentially McGuire. The table, adorned with a rectangular beveled glass top in pristine condition, stands as a testament to the timeless elegance of McGuire's craftsmanship. The bamboo base boasts a delightful warm hue, effortlessly infusing any modern interior with the inviting, relaxed ambiance reminiscent of California design. Immerse yourself in the classic beauty of McGuire Furniture, where each piece tells a story of innovation, craftsmanship, and the enduring allure of mid-century California style. Some history about the manufacturers: Like so many artists and designers, husband and wife John McGuire (1920–2013) and Elinor Stevenson (1914–2005) became masters in their trade by accident. The couple met just before the start of World War II (during which John was in the U.S. Navy and Elinor was a navigation instructor) and got married after it ended. They settled down in San Francisco where John held a couple of jobs — among them selling newspaper ads for the San Francisco Examiner while Elinor worked for Boeing Aircraft. Soon, an old Navy buddy of John’s asked him to help sell a bunch of rattan furniture and, needing the money, John agreed. His side business became so successful that John decided to quit his ad-sales job and work full-time in design. In 1948, McGuire Furniture Company was born. Alongside themed-century modern furniture designs then gaining popularity in the United States, John introduced an unconventional idea: traditional armchairs, stools and tables made of natural materials such as bamboo, which was strong yet could be rendered pliable when steamed, that were intended for the indoors rather than the front porch. The brand’s first success was the now famous Director’s X-Chair byLeonard Linden. The military-campaign-style solid oak folding chair launched in 1956 and saw rattan binded with rawhide strips and a high-grade leather slug seat and back that eliminated the need for a plush cushion. Elinor, too, designed some of the brand’s popular pieces, such as 1968’s Cracked Ice chair. With its rattan oval back a dazzling celebration of geometric forms that give it its charming moniker, the Cracked Ice chair was an instant classic and is one of the brand’s most recognisable designs. Today, McGuire and another American furniture manufacturer, Baker Furniture Company, comprise Baker Interiors Group. McGuire remains true to the founders’ ideals and commitment to crafting the kind of organic modern furnishings that are synonymous with the warm and relaxed feel of California design. The company has collaborated with interior designersSteven Volpe, Orlando Diaz-Azcuy and Nicole Hollis...

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...

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...

An Art Deco Eight Seater extendable dining suite by Heal's of London. Burr and figured walnut dining table with ebonised inlay and original heal's stamp. Six dining chairs and two ca...

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...

The T/5140-180 dining table is part of the new Classic collection by Zanaboni: veneered in citronnier and ebony woods, the direction of the veneer is ...

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...

Art Deco Style Fontaine Quartz Dining Table, Modern Collection, Handcrafted in Portugal - Europe by Greenapple. The Fontaine marble dining tab...

‘Coast’ dining set consisting of four chairs and a dining table. Originally designed for the Coast restaurant in London in 1995, the chairs were crafted from oak in a small factory i...

Garden furniture including a large round table and four chairs, white lacquered wrought iron structure, circa 1950. Measures: Table diameter 39.37 in Table height 29.92 in.

Asnaghi make pieces of furniture that are far more than just that. They create real works-of-art of intrinsic value, Peerless in design and execution, and expected to become heirloom...

We are delighted to offer this very fine original RRP £12,000 extra large Burr Satinwood Giorgio Collection extending dining table This piece is part of a monumental £50,000+ dining room suite which includes the extra large extending table...

Modern Howlite Round Dining Table 4-Seats, Modern Collection, Handcrafted in Portugal - Europe by GF Modern. The Howlite round dining table anchors the room with quiet confidence. I...

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...

Chair dimensions: Height: 78 cm / 30.71″ Width: 40 cm / 15.75″ Depth: 47 cm / 18.5″ Seat height: 44 cm / 17.32″ Table dimensions: Height: 80 cm / 31.5″ Width: 83.5 cm / 32.87″ Depth...