Italy - Dining Room Sets

Code: FQ58 Period: 19th century Style: Renaissance Dining room of the School of Arts in Monza, 19th century, walnut hand-carved consists of: sideboard showcase with leaded cathedral glass; sideboard with central mirror; console with large mirror; table with 12 chairs lined leather. Measures cm (height, length, depth): sideboard with showcase...

1970s Bamboo Dining set Product Details Glossy-finish pressed bamboo table + 4 chairs and 2 armchairs, complete with cushions. Chair dimensions: 50 W x 101 H × 50 D cm Table dimensio...

Monumental and important Renaissance Palladio dining room set all in solid hand-carved walnut from a Palladian Palace in Vicenza of a Venetian patrician family. The back of the showcase was rebuilt again at the end of the 800 first 900 with the application of damask fabric The table can be extended up to 4-6 meters The large sideboard and the display cabinet are in the process of conservative restoration and have therefore been disassembled, as seen from the last photos. Measures in cm: Sideboard H 240 x L 315 x D 70 Display cabinet H 240 x L 230 x D 60 Table H 78 L x 230 x D 140 Extendable to 4-6 meters Notes: The architectural design of Andrea Palladio...

They can be sold separately A magnificent Mid Century baroque Ferrarese table "biscotto" with six chairs, all hand-carved blond walnut and the top finished with Ferrarese burl walnu...

A Michele Bonciani 20th century Tuscany dining room set, Renaissance style, all solid walnut and carved walnut, wax-polished An important classic dining room set with a beautiful patina, very elegant in spite of the massive structure of the table and chairs Extendable table and chairs...

1970s Bamboo and Cane Fabric Dining Set Product Details Set of four chairs + table. • Set of four bamboo chairs with cane fabric bindings. • Bamboo dining table with cane fabric bind...

Afra And Tobia Scarpa Dining Set, “Basilan I” Series, Produced By B&B Italia – Compagnia Delle Filippine Division, 1975 Product Details Dining set from the “Basilan I” series, design...

Dining set by Hans J. Wegner consisting of a 3 legged table (FH4602) with 6 stackable 'heart' chairs (FH4103). Made in solid oak and teak veneer for the seats. Produced by Fritz Han...

A living room set composed of an oval-shaped oak gateleg table with metal details, designed by Borge Mogensen and produced by Karl Andersson & Soner, as well as a set of eight wishbo...

Outstanding elegant dining set designed by Pier Luigi Colli. Composed by; - Dining table with finely carved and painted legs decorated with acanthus leaves. Dark red glass...

Pierre Chapo T21B "Sfax" Table & "S28" Chairs for Atelier Pierre Chapo, wood, France, 1970s A remarkable study in structural harmony, this dining set by Pierre Chapo pairs the T21B ...

Early 20th century, complete venetian baroque dining room by Testolini & Salviati , in burl walnut and hand-carved walnut , polished to wax Excellent conditions set with all origi...

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...

LB7 bookcase, designed by Franco Albini and manufactured by Poggi in 1957. Modular bookstore composed by upholds, containers with flying and doors, shelve. The industrial standard for every product component allows permanent and different solutions, from the bearing structures to the elements. The structure does not need anchorages to the wall and can be placed in the middle of the space. This set is composed of 3 modules, ten shelves, and three containers. It is made of Rosewood, iron, and brass. Excellent vintage condition. Franco Albini was born in Robbiate in 1905, and after his childhood and part of his youth, he moved to Milan. He graduated at Politecnico of Milan, Faculty of Architecture, in 1929, and He collaborated for three years in Giò Ponti and Emilio Lancia’s office. He probably had his international contacts here, at The International Exposition of 1929 in Barcelona and Paris, where he visited le Corbusier’s office, as Franca Helg used to tell. Throughout these first three years, his works were undoubtedly related to XIXth Century. His meeting with Edoardo Persico marks an evident turnover towards rationalism and writers for “Casabella” magazine. Persico’s thoughtful and ironical comments on some of Albini’s drawings for office furniture caused him deep upsetting. “I spent days of real anxiety – tells Albini – I had to answer all questions. I had a long fever”. The new phase that the meeting provoked begins with opening his own first office at Via Panizza with Renato Camus and Giancarlo Palanti. The group of Architects starts taking care of social housing, participating in the competition for the Baracca neighborhood in 1932, and then realizing the Ifacp neighborhood: Fabio Filzi (1936/38), Gabriele D’Annunzio, and Ettore Ponti (1939). During those years, He also worked for his first private villa (Pestarini). It is mainly in the context of exhibitions that the Italian architect experiments the compromise between rigor and poetic fantasy that Pagano was talking about; He conceived all the elements that would become recurrent in all types of his work – Architecture, Interiors, Design. The 1933 opening of the new Triennale of Milano, in Palazzo dell’Arte, becomes an occasion to express the highly innovative character of rationalist thinking. In this place, to experiment with new materials and solutions, but most of all a “method”. Young rationalist architects cultivated the art of exhibiting as a communication lab, an open field to space solutions. Albini, with Giancarlo Palanti, sets the steel structure house (with R. Camus, G. Mazzoleni, G. Minoletti and coordination by G. Pagano) designing also its furniture. For the next Triennale in 1936, marked by Persico’s early death, Franco Albini, together with a group of young architects around Pagano, takes care of the exhibition of Dwelling, where he presented 3 types of lodgings. In the same year, Albini and Romano design the exhibition for Ancient Italian jewelry: vertical uprights, simple linear poles design space. This element is recurring in other works, like the Scipione exhibition (1941), Vanzetti stand (1942), and Olivetti shop in Paris (1956). The architectural space is readable through a grid, introducing a third dimension, the vertical one, with a sense of lightness and transparency. Upright is also used in design objects, such as the Veliero bookcase...

A dining set composed of four “model 121” dining chairs and a “model 778” dining table designed by Afra & Tobia Scarpa in 1965 and produced in I...

Fabulous round dining table with an organic design and with a gold colored glass top. Produced in Italy in the 1950s in the manner of Augusto Romano. The legs have supreme craftsmans...

As part of the Cassigoli Black "for Planet" collection, this handmade coaster set is dressed with an innovative Biomaterial, obtained from the waste materials of wine production, wit...

Willy Rizzo style table and chairs by Gastone Rinaldi for Rima, 1970s DESCRIPTION Table with briarwood and brass base, and smoked glass top. The chairs are made of chrome-plated iro...

Introducing the Armonia Chair. This set of 8 Italian walnut chairs is an unique and timeless dining chair set. The chairs are made from...

Baroque Ferrarese burl walnut with neoclassical references , Art Decò age, table with six chairs of the early twentieth century, in solid blond walnut. Shaped oval shaped table, wit...

Pink marble dining table designed by Karen Chekerdjian, part of the Inside Out Collection - accessories (fruit bowl, candles, flower vases) ta...

They can be sold separately 1930s Art Deco majestic room furniture sets in burl walnut attributed Atelier Gaetano Borsani, Varedo, polished to wax. Two tulip-shaped sideboards with b...

Karen Chekerdjian expands her iconic Inside Out collection with the new Large Dining Table—a bold yet essential centerpiece for contemporary interiors. This new iteration introduces ...

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

Art Nuveau dining room signed Pierre Mathieu Bielle-Lyon. Finished with typical floral decorations with finely carved whiplash lines. The room is forme...

Torbecchia dining room set is composed of four chairs, one table, and one bench. The table and the bench were made in walnut wood, the chairs have a structure in walnut wood and wove...

Timeless sophistication and the understated elegance of high-quality pieces distinguish this superb set of tablecloth and twelve napkins. Entirely made by hand, this set is in a deli...

Dining table designed by Umberto Mascagni of Bologna in the 1950s. The main body structure is in solid European wood, covered in brown veined vinyl and anodized aluminum. The legs ar...

Large Italian imperio style dining table plus 12 chairs 1960s

“Delfi” dining table, designed by Carlo Scarpa and Marcel Breuer and produced by the Italian manufacturer Studio Simon in 1969. Made of white Nax...

Indulge in the artistic charm of our double quartz spoon, adorned with a sculptural stone handle. Meticulously handcrafted by italian artisans, the distinctive stone adds a touch of ...

Italian Midcentury Modern Mahogany and Rosewood Dining set, Osvaldo Borsani 1950s Exquisite dining set, designed by Borsani that includes a beautifully shaped dining table and six m...

Indulge in the artistic charm of our double quartz spoon, adorned with a sculptural stone handle. Meticulously handcrafted by italian artisans, the distinctive stone adds a touch of ...

Midcentury dining room sets teak wood brass Italian design extendable table Table cm. 80 x 90, inches 32 x 36 height cm.73, inches 2.2, tab...

Beautiful midcentury set, made of bamboo and rattan foldable table and four chairs. It is an Italian production of 1960s and the state of conserva...

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

Indulge in the artistic charm of our double quartz spoon, adorned with a sculptural stone handle. Meticulously handcrafted by italian artisans, the distinctive stone adds a touch of ...

Impressive antique 19th century Italian Renaissance sideboard set of two. Made entirely of carved walnut wood. The carving work is specta...

Locus Solus set is composed of four chairs with a structure in tubular steel a seat in padded leather and a table with a frame in tubular steel and a glass table top. The Locus Sol...

They can be sold separately 1930s amazing dining room in burl walnut flame applied with particular edge to 45 degrees, the furniture industry "Guido Pennati", design attributed to Os...

Beautiful table designed by the famous Italian Mid-Century Modern designer Vittorio Dassi, 1950. The exceptional woodwork is highlighted by the curved green glass top and the rounded...

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....

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

They can be sold separately Midcentury dining room set Melchiorre Bega attributable, from Cantù, in mahogany and burl mahogany Precious and ...

IMPORTANT: ON REQUEST WE WILL RE-UPHIDE THE CHAIRS WITH A SUPPLEMENT OF EURO 150 EACH. Reinforced structure of the chairs for daily use. Spring seat. French mahogany dining table...

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...

Description: Mid-Century modern dining room sets by Paolo Buffa (La Permanente Mobili Cantu) consists of: long sideboard, small sideboard, table with glass top and four chairs. Orig...

They can be sold separately Italy 18th century majestic dining room set, baroque renaissance, table and six chairs, all in solid walnut restored and polished to wax. On request the c...

Made of steel and fabrics with original and unprecedented patterns, Locus Solus is a reissue of a collection designed by the unpredictable flair of Gae Aulenti in 1964. The retro des...

They can be sold separately 19th century Baroque round table, extendable, restored with six Luigi Filippo new-upholtered chairs. Table measure cm:...

Refined dining set dating back to the second half of the 19th century, in the Louis Philippe style, consisting of a round inlaid table and six matching chairs. The table features a f...

Elegant Art Deco Dining Room Set – Fine Craftsmanship and Premium Materials. This exquisite Art Deco dining room set showcases outstanding woodworking and high-quality materials. The...

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

Measures: Sideboard - H 95 x 300 x 51 Mirror - H 88 x 240 Bar cabinet - H 91 x 116 x 41 Mirror - H 122 x 78 x p5 Table - H 80 x 197 x 96 Chairs - H 91 x 48 x 50, seat H 47.

The “778” model is an example of solid wood boards arranged to form a C-shaped frame. The table, with a top that opens, is supported by four trestles, two of which are a few centimet...

Elegant dining table, Paolo Buffa, 1950s. The piece is really rare and important. The marble top is supported by a center column on four bronze finished feet. Available as well the ...

From our hand-painted Furniture Collection, we are pleased to introduce you to our Provenza Bamboo Console with drawers. Finished in a timeless black backround with bamboo criss cross accents, this eclectic console...

Set composed of four Medea dining chairs, designed by Vittorio Nobili for Fratelli Tagliabue in 1954. Made of teak plywood, excellent vintage condition. Reported at “Compasso d’Oro...

"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...

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...