Mid-Century Modern Dining Room Sets

Charming three piece cafe style dinette set to include two chairs and a table. The chairs feature a dramatic scrolled arm, with backs that have a circular caned pattern...

Mid-Century Modern Dining Set in the style of Clifford Pascoe, c. 1960s. This unique set is perfectly sized for smaller spaces and consists of 4 dining chairs and round dining table,...

1950s Mexico City French inspired Dining Table Set Forged iron and bronze. New glass top Table 30 x 59 inches diameter Set includes 6 dining chairs. 33.25 tall x 20 d x 20.5 w Seat 19.5 h chairs No label Dining table 4 legs clean and modern simple lines. Brass ball at feet. Please note beautifully decorated bronze sabots at tips on legs. Suggestive of French influence Jean Royère. The chairs (6) have a beautiful X weave pattern on back, welded into forged iron frame. All firm and sturdy. Original vintage unrestored condition. Patina present. Original upholstery is sun faded. Retains vintage nail...

Super cabin-modern and hard to find California design outdoor patio set. The wicker on all pieces is still in very good condition! All these pieces were procured together, and are in original unrestored condition. The upholstery on the 4 stools okay, two stools each have a puncture each to the tops, and one a hole/nick to the edge. It is recommended you recover the stools to match your situation/uses...

This set is absolutely divine! Designed by Edward Wormley for Dunbar in the 1950's this set was manufactured to be of the absolute highest quality, and to last forever... which it ki...

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

An über chic Italian Aldo Tura tobacco coloured lacquered goatskin / parchment elliptically shaped dining table by renowned Italian Desinger Aldo Tura in the mid 20th Century, a fine...

Set of Eight Curvaceous Dining Chairs, designed by Kipp Stewart for Calvin, American, circa 1960s. These chairs are currently being refinished ...

Magnificent fully original tulip dining set designed by Eero Saarinen and produced by Knoll International in the 1960s. The set consists of 6 original marked tulip armchairs and the ...

This original dining set includes a dining table produced by Samuel Marx for the Quigley Company Marx in 1939, an important architect and designer renowned for his custom one of kind...

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...

Fabulous 8pc indoor outdoor dining set of spun fiberglass by Russell Woodard. Set includes table with a glass top, not pictured, glass is per...

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 rounde...

Knoll platner dining table and chairs In 1966, the Platner Collection captured the “decorative, gentle, graceful” shapes that were b...

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

Wonderful 1960’s vintage Mid-Century Modern spun fiberglass forest green painted outdoor or patio dining table & four armchairs on casters. Beautiful condition, keeping in mind that these are vintage and not new so will have signs of use and wear. New paint but not done by us. Needs cushions. Please see photos and zoom in for details. We attempt to portray any imperfections, circa, Mid-20th Century. Who needs to go to a fancy restaurant for dinner when you can stay home and have fine dining like this? This is a fabulous spun fiberglass outdoor dining set comprised of a table with a cinched pedestal base and a round top with a glass insert and four armchairs on casters. So often pieces like this are Attributed to Russell Woodard, and throughout the design community there are debates and discussions as to what in fact defines a Russell Woodard piece, but in fact he never produced spun fiberglass furniture...

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 ...

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...

A stunning dining table crafted by a Danish cabinetmaker in luxurious rosewood, featuring a Dutch extension mechanism, dating back to the 1960s. This dining table epitomizes the ele...

Mid-Century dining table designed by Finn Juhl for Niels Vodder. Made in Denmark, 1948. The 'Judas' table deserves to be seen as the embodiment of fundamental Mid-Century Danish de...

A Classic design, beautifully executed, in walnut. The finish is original. The chairs are upholstered in the original fabric.

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

We are delighted to offer for sale this stunning vintage Mahogany Marble topped side table with Butlers serving tray and x20 bottle holders A very good looking and well-made piece...

Wonderful vintage maple drop-leaf table featuring unique carved gate legs. Use with one leaf or two to adjust the table top from a compact 44"x34" table top to an ample 44"x60". Perf...

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...

Italian mid century dining table and six chairs. Chrome srtucture and formica. Table is extendable from 4 - 6 people. The set is in good vintage condition, tarnish chrome. Table dime...

Brown Jordan dining set consisting of four bent bamboo rattan arm chairs with new custom cushions on original casters. The matching pedestal dining table & glass top feature split re...

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...

Carlo Hauner and Martin Eisler are most known for well-shaped armchairs made in iron, but the production is far more complex, handcrafted, and extensive. The wood pieces produced by ...

Very rare and complete 1st edition dinner set by Pierre Paulin for Artifort, Netherlands – 1965. This is a rare and complete 1st edition set. The chairs swivel. The table top has been professionally refinished in the same colour. The fabric is still original but shows a lot of staining. The legs have some normal signs of age and us. This set is extremely rare and could feature in a Paulin / Artifort museum or dedicated art show. Reupholstery on request. Designer: Pierre Paulin (France) Manufacturer: ARTIFORT (Netherlands) Country: Netherlands Model: Tulip table and chairs...

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...

Sculptural X Base Dining Table, designed by T.H. Robsjohn Gibbings for Widdicomb, American, circa 1950s. This dining table is currently being refinished and can be completed in your choice of color. The price noted INCLUDES refinishing in your choice of color. The dining table expands...

Oval racetrack shape rattan or bamboo dining table, American, circa 1960s. Retains warm original patina.  

Sophisticated dining set Ebonized Mahogany wood dining table Six blue velvet chairs Mexico circa 1950s Attributed to Eugenio Escudero. Unmarked. Set includes six dining chairs and an oval shaped dining table. Mahogany Wood ebonized with black lacquer. Chairs have brass accents and blue velvet seats. Very comfortable. Original preowned vintage condition. Wear consistent with age and use...

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 ...

Elegant Mid Century Dining Table, designed by Paul McCobb for Calvin Furniture's Directional Line, American, circa 1960s. The table expands from a 48" round to a 68" width oval with ...

Iconic dining table and six dining chairs by Osvaldo Borsani and Eugenio Gerli for TECNO, Italy, circa 1960. Four chairs have galvanized metal details and two chairs have brass detai...

Presumably unique spider dining set made by a master carpenter. Made of solid pine with a star-shaped table top.

Thaden-Jordan 1940’s Herbert Von Thaden Mid-Century Modern table & chairs 5pc set • As designed by Herbert Von Thaden & Donald Lewis Jordan • Manufactured by Thaden-Jordan Furniture...

Set of Four Clean Lined Mid Century Dining Chairs, designed by T.H. Robsjohn Gibbings for Widdicomb, American, circa 1950s. These dining chairs are currently being refinished and reu...

Set of table and benches designed by Charlotte Perriand for Les Arcs ski Resort, circa 1960, manufactured in France. Pinewood. In good original condition, with minor wear consi...

Set of eight sculptural dining chairs, designed by Wendell Castle, American, circa 2010s. Signed with Wendell Castle's branded monogram on the leg. Wendell Castle licensed several of his designs for the Wendell Castle Collection...

“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...

Paul McCobb for Calvin Dining Set, Features Six Dining Chairs, Two Arm Chairs, and Four Side Chairs, a Rectangular Table in mahogany veneer original medium tone with a solid brass st...

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...

Modernist iron table and chairs attributed to John Salterini. Amazing design ! Superior quality and construction, Seat cushions newly upholstered, hand delivery avail to New York Cit...

Outdoor Wrough Iron Round White Marble Top Dining Table 6 Chairs w/ Brass Finials Set MINT! Table: dia 48 x 31h' Chairs: 20'' x 17'' ...

Set of Four Clean Lined Italian Dining Chairs, designed by Gianfranco Frattini for Lema S.P.A., Italian, circa 1960s. The chairs are currently being reupholstered and can be complete...

Set of six Milo Baughman-designed thin-Line Series Dining Chairs produced by Thayer Coggin in the Early 1970s. Very Good Condition structurally but the material is unfortunately fade...

Mid-Century Modern dining table and six chairs by Umberto Mascagni, the table with a cinnabar red chinoiserie top, the matching six chairs covered in cream and textured vinyl, the ta...

Super-Ellipse, Model B613, designed by Piet Hein, is an iconic table that combines functionality and aesthetics in a unique way. This table has a white laminate table top, which give...

Luigi Colli Italy set of chess glass coffee table in work iron years ’40 perfect and original condition, very rare. Top glass with work acid engraved the chessboard in the surface...

Spun fiberglass Russell Woodard indoor/outdoor dining set. Gorgeous table stands on 4 feet under the pedestal base. Additional information: Materials: Fiberglass Color: Cream S...

Danish Modern Mahogany dining table, designed by Frits Henningsen, Denmark, circa 1930s. This dining table is currently being refinished and the leaves will be re-veneered, as their veneer was missing when we purchased the set. It expands from a compact 43" circle to an impressive 108.5" oval with all three of it's leaves installed. We also have the matching dining chairs from the same estate currently listed on 1stdibs. Please see last photos. This listing and pricing is for the dining table only.

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...

Massives Teakholzgestell mit massiver Teakholzplatte. Dieser Tisch besticht durch seine lebendige Maserung und Farbgebung. In unausgezogenem Zustand ideal für vier Personen. Mit den ...

Vintage wrought iron patio furniture seating chairs with teak table No matter what your style – mid century modern, rustic, traditional, or farmhouse– you can create this stylish and trending look by mixing wood and metal. This set features 6 chairs with a generously sized teak finish table measuring 70” in length and 34.75” in width. At a height of 30”, this beautifully paired dining set, will allow for comfortable seating for six with 4 dining style chairs and 2 High Back Arm Chairs. Perfect dining set that works both inside or outdoors. Notice the continuous Lyon Shaw...

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...