Dining Room Sets

Scandinavian Table and Bench set. The set is solid elm with an X stretcher base. Dining Room Set. Benches measures: 16.75H x 59W x 14.5D. Table Measures: 2...

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,...

Set of Six Mid Century Dining Chairs, designed by Paul McCobb for Calvin Furniture's Directional Line, American, circa 1950s. These chairs are currently being refinished and reuphols...

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...

Amazing all original teak table and chairs. Chairs have swivel backs and table has leaf extensions, 1950s, Denmark. Dimensions (H, W, D): 29" H, 89" W, 33" D with leaves fully ext...

Danish modern rosewood extending dining table manufactured by AM Mobler in Denmark. This vintage dining table was built ...

Chic garden, patio, dinette set consisting of a dining table , and four side chairs. The table has a tempered glass top, the chairs have their original upholstered pad seats, metal e...

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...

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...

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

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...

Brazilian jacaranda wood and metal dining table and eight chairs from the 1960s attributed to Jorge Zalszupin, upholstered in beige suede. Chair dimensions: 18" W x 20" D x 31" H...

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...

Five-piece wrought iron dining / patio set. One glass-topped table and four chairs. Painted green. Table measures: 42.5 in across.- 29-3/8 in high. - 29- 11/16 in high. With glass t...

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...

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...

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...

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...

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 ...

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...

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 ...

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...

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...

Fully restored outdoor or patio dining set consisting of four marvelous steam bent arm or club chairs with new vintage stock Sunbrella upholstery, foam a...

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...

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 ...

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...

Mid-century modern teak dining table with four folding chairs that store inside the table. Table has two leaves and casters for easy mobility. Great for small spaces with ability to ...

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...

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...

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...

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

“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...

1950s Paul Frankl black cerused oak wood dining set for Brown Saltman CA Dining table and six dining chairs Table 95 long x 41.75 depth x 29.75 height. With one extension 80 long. 6...

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.

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...

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...

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 composed of four Medea dining chairs and their circular table, designed by Vittorio Nobili for Fratelli Tagliabue in 1954. Made of teak plywood, excellent vintage condition. Reported at “Compasso d’Oro Prize at Milano Triennale, in 1956. The Medea chair was manufactured in Italy between 1950 to 1959. The manufacturer of this chair was Fratelli Tagliabue. Vittorio Nobili designed it. Although he designed this chair in vintage times, it is suitable for our modern needs. This chair adds elegance and looks to its surroundings. This chair was reported at the prestigious Industrial Design Award, Compasso d’Oro, in 1955. Other iconic pieces, such as Soriana by Afra and Tobia Scarpa...

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...

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...

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

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...

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

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...

Glamorous high back armchair and table design by Arthur Unamoff in the 1960s. The set is constructed of steel that has been newly powder coated satin black, new 48” diameter 1/2” thi...

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...

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...

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 ...

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...

Super-Ellipse, Model B613, designed by Piet Hein with white laminate and steel chrome legs. A table in very good used condition. No stratches on the top plate. This product will ...

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...

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...

Vintage Paul Frankl dining room set by Brown - Saltman. 9 piece dining table one leaf six chairs with matching buffet all with honey combed design ico...

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...

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...

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...