Late 20th Century Dining Room Sets

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...

Stunning dining set by Pierre Chapo with T21E dining table and eight S11 dining chairs Pierre Chapo, 'Sfax' dining table, model 'T21E', elm, France, circa 1973 This design is an e...

Willem Noyons dining room set, birch, plywood, The Netherlands, 1982/1983 This Dutch dining set by Willem Noyons, reflects a distinctly architectural approach to furniture making. C...

This 1970s vintage signed Lion In Frost Lucite sculptural base dining table and original tufted leather Lion Frost dining chairs make for a great ensemble. The glass can be a much larger one to put on at your end. The base is solid. It is now at 46" round diameter. This was a replacement glass top. The leather of cream colored is the original leather fabric from the time. These are very comfortable to sit in. The tubular lucite chairs...

Vintage Italian Art Deco Rectangular Glass Center Birdseye Maple and Black Lacquer Extending Dining Table with 6 High Back Dining...

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...

This elegant Scandinavian modern dining set consists of one large wooden table and nine finely crafted chairs. The table is a perfect example of minimalist design, constructed in two...

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 by Chapo, this piece shows...

The rare dining set designed by Boris Tabacoff is one of the most sought after space-age chairs, highly sought after by interior architects at home and abroad. Boris Tabacoff, a ren...

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

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...

This dining set draws inspiration from the iconic design language of Vico Magistretti, where simplicity, function, and quiet sophistication come together. The table and six re-cane...

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...

This elegant 1970s Italian dining set by Marzio Cecchi for Studio Most comprises a striking oval glass-top table and six high-back dining chairs in rattan and stained wood. A masterf...

Decorate a breakfast room with this refined French dining suite. Crafted circa 1980 and built from solid oak, the set includes a round Louis XV-style table and six matching upholster...

This playful Memphis-style set, created around 1990, consists of two sculptural chairs and a matching table in a charming cloud-inspired design. The chairs feature bold red lacquered...

Nils Jonsson for Troeds – Double Extending Dining Table in Stained Teak with Chairs (c.1970) An elegant mid-century Scandinavian dining set featuring a double-extending teak dining ...

Very unique custom designed and fabricated post modern blonde birch dining set. (1) dining table and (6) dining chairs. Each chair is numbered (1-6) underneath. Dining table is made ...

Pierre Cardin dining room set, 6 keyhole back armchairs #26406 and pedestal table, 1989 Complete with six iconic Pierre Cardin keyhole back arm chairs #26406, each one signed in gold script on the back of the chair. Each chair measures: 17” W x 22” D x 43.75 H The leather seat measures 15”x 17" The arm height is 27.5" , the seat height is 19” The six chairs are available without the table for $7,500.00, LU1943319416722 The set is completed with a Pierre Cardin black lacquer and brass pedestal dining room table 72" x 42" Beveled glass top, Signed in script on base. Measures: 30” x 72” x 42” beveled edge/ The base alone measures lower column is 19”x 30” base, the measures top 16” D x 26.5" W x 29.5 H The Table is available without the 6 chairs for $7,500.00, LU1943319416742 Or the entire set can be purchased on this listing for $12,500.00 Provenance: Some chairs have the original Inventory labels, all chairs are signed in Gold Script 'Pierre Cardin' 'Frame #26406, walnut, black and brass...

Transport yourself back to the sleek and sophisticated 1970s with this exquisite dining set. The ultra rare dining set exudes an air of history and refinement. Outstanding design is ...

Chinoiserie-style burl and black lacquer dining set by Henredon of Morganton, NC, USA circa 1980. Oval table is composed of a burl inset surfa...

No description provided

This vintage coastal bent rattan Hollywood set exudes effortless glamour and breezy sophistication. Featuring beautifully curved rattan frames with natural finishes, this set capture...

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...

Transform your dining space with this exquisite vintage Coastal Chinese Chippendale rattan dining set. Featuring intricately crafted chairs with classic Chippendale lattice backs and...

Faux Painted Dining Set, Reed Chairs, Maitland Smith Style Offered for sale is a set of 4 reed chairs with a round pedestal table with a faux-painted wood top that looks like tesse...

Vintage 5 pieces coastal style pencil reed dining / game set. Circa 1980s The Table features an intricate Pencil Reed Pedestal in a natural finish...

Magnificent vintage Art Deco Streamline Moderne round table 2 chairs dining set comprised of cylindrical chrome tube pedestal bases, round light wood grain laminate tabletop, b...

An authentic Finnish modern dining set designed by Alvar Aalto and produced by Artek, consisting of the Model 81B dining table and four Model 65 chairs. Crafted in laminated birch, t...

This is a beautiful Regency Revival flame mahogany and satin wood banded oval dining table and a set of six shield back dining chairs, dating from Circa 1980, made by the Master Cabi...

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...

Transport yourself back to the sleek and sophisticated 1970s with this exquisite dining set. The ultra rare set exudes an air of history and refinement. Outstanding design is exhibit...

"McGuire" 1970s dining room set in black lacquered rattan Complete of: – Trolley with extendable top bar cart server buffet (dimensions: 110 x 5...

A large square Italian dining table designed by Paolo Barracchia. Featuring exquisite detailing including a thick brass band, double open legs and map...

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...

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

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

Vintage Contemporary Round Tessellated Stone Dining Table and Chairs Vintage Contemporary 54" Round Beveled Glass-Top Wood with Teselated Stone top Pedestal Base w/4 Wood Sheild Ba...

Ron Seff Raffia wood marquetry dining table with round form and brass mounted base. Completed with thick glass table top.

A superb dining room suite consisting of table and six chairs designed by Guido Faleschini for Hermes, France, circa 1970. Hermes barely needs any introduction: it is probably the most famous firm in the world known principally for its workmanship of leather goods of the highest quality. The French luxury goods manufacturer established in 1837 specializes in leather goods, lifestyle accessories...

Exceptional hand woven rattan dining set circa 1970. 1 table, 2 armchairs and 4 chairs. Incredible rattan work, very good condition. Rare!

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

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...

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...

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...

Nice 3-legged table and chairs deigned by Randy castellan 1994, for Makea Studio, signed at the bottom great industrial design, in plywood good origina...

We love this classis but still very modern set. It can be used as a game table or as a dining room set for four. This all original color sati...

A spectacular 1970s Dining Set- The chairs and table have a heavy chromed steel base and were reupholstered in soft blue leather. Glass dimensions: 130 cm Chair dimensions: Width: 51...

Vintage Modernist Table Set From France, Circa 1970. Unusual set in solid pine with nice original paint and use. Chairs measure : H-33 / W-21 / D-22 / S-18.5

McGuire comprising revolving flip top games and dining table with two woven rattan side chairs and two armchairs. Chairs feature McGuire "M" logo inlay in back of each chair seat (se...

Gilbert Marklund Pine Table & Benches for Furusnickarn, Sweden, 1970s This striking pine dining set was designed by Gilbert Marklund for Furusnickarn in Sweden during the 1970s. Com...

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...

For FULL item description click on More Details below. Shipping Quote Information The shipping quote stated in the listing was from 1st Dibs and they normally set all the costs and handle all the shipping details. However, if you let us know what 1st Dibs is quoting you and give us your zip code, we can sometimes ship it for less and get it to you faster. For a shipping quote, click on "ASK THE SELLER" under the purchase button and provide your zip code. Offering One Of Our Recent Palm Beach Estate Fine Furniture Acquisitions Of A 5 Piece Jacques Adnet Hermes Style Iron Equestrian Dining Set We called it our 4 Horseman...

Dining room set by Pierre Cardin for Roche Bobois, 1970s. Black lacquered wood set consisting of four chairs, a table and a sideboard. The table has an extendable glass top (extensio...

Immerse yourself in the timeless glamour of the Hollywood Regency era with this stunning vintage dining set from the iconic Brown Jordan, crafted in the United States during the 1970...

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...

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 ...

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

This is a beautiful trestle dining table with matching benches by Gerald McCabe for Orange Crate Modern. This table retains its original finish over soli...

Lovely Italian dining set consisting of a Angelo Mangiarotti table and Giuseppe Rivadossi dining chairs Angelo Mangiarotti for Bernini, dining table, model '302', cast bronze, marbl...