1970s Dining Room Sets

Vintage Rattan dining room set attributed to John McGuire consisting of glass topped rattan dining table and six dining chairs. There a...

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...

Mid-century Modern Dining Table and Chairs Set by Afra e Tobia Scarpa Italy 1970 Add timeless Italian elegance to your home with this vintage dining set. Renowned designers Afra and...

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...

Vintage Mid Century Modern Chrome Dining Room Set in the Milo Baughman Style manufactured by Scancraft Furniture, NY. Circa 1970s. The Table Features a polished aluminum frame with a...

Stainless steel dining set designed by Gary Gutterman for Axius Designs in 1970s. Set includes glass top dining table and 8 chairs. All original and in very good condition.

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...

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...

1970's Ultra Modern 11 Piece Dining Set by Century Furniture. Exotic Burlwood with bevelled bronze toned glass top. 8 chairs, stunning bent burlwood design. 2 armchairs and 6 side ch...

Dining set with Pierre Chapo T21D dining table paired with Afra and Tobia Scarpa Monk chairs. Pierre Chapo, dining table, model 'T21D', solid elm, France, 1970s This table is one...

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

For FULL item description click on CONTINUE READING at the bottom of this page. Offering One Of Our Recent Palm Beach Estate Fine Furniture Acquisitions Of A 1970s MCM RUSSELL...

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

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

Rainer Daumiller for Hirtshals Savværk A/S dining set - Denmark, 1970s Wear consistent with age and use Mid-century Modern - Vintage - Funiture Dining Set : Table - 2 Chairs - 1 st...

1970s Round chrome and burl dining table, quarter panels of burl on the round top with squared robust legs. A sleek modern design from the period.

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 ...

Table set - 6 dining chairs and Table - Giotto Stoppino Born 1926, Giotto Stoppino was one of the most relevant representative of the Italian Space Age movement. He worked as an ar...

In this listing you will find a stunning Space Age patio, garden and dining room set, consisting out of a folding table and 3 folding chairs with distinctive design. They are all don...

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

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...

This is an unusual set of 4 Chinese Chippendale cast aluminum side chairs in the Chinese Chippendale style together with a matching cast aluminum faux bamboo table with a glass top. ...

Complete 8 piece Mid Century Modern set of green Brown Jordan “Tamiami” patio furniture, six armchairs, umbrella stand and one circular dining table with labels. The light weight tub...

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...

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...

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

Osvaldo Borsani set of eight unique high back swivel dining chairs for Tecno 1971, Original cotton velvet upholstery, aluminum with bronzed finish. A copy of the blueprint included ...

Mid-Century Modern Dining Set by Marco Zanuzo for Poggi, Italy, 1970s Chairs : 39x43x90 cm Sh 44cm

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...

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...

Ce majestueux ensemble des années 1970, conçu par Osvaldo Borsani, pour Tecno se distingue par sa table aux dimensions de 85 cm x 120 cm et une hauteur de 70 cm, accompagnée de chais...

THE FOUR CARDINAL POINTS Rosenthal Kunstmöbelreihe This noteworthy design is the work of Bjørn Wiinblad. The furniture pieces were produced in a limited edition of 300 in 1976. E...

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...

On offer on this occasion is one of the most stunning, dining set you could hope to find. This is an ultra-rare opportunity to acquire what is, unequivocally, the best of the best, i...

Mid-century Modern Dining Table and Chairs Set by Afra e Tobia Scarpa Italy 1970 Add timeless Italian elegance to your home with this vintage dining set. Renowned designers Afra and...

This dining set, crafted from solid oak, consists of 8 chairs and a matching table, exuding a distinctive rustic charm. A perfect centerpiece for a dining area with character, this s...

Original Spaghetti Patio chairs and matching rectangular table with reversible top in all Black by Giandomenico Belotti for Alias Made in Italy. Gorgeous Minimalist Italian design fr...

“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...

We are proud to offer this exceptional piece of American Studio Craft history by acclaimed woodworker and artist Richard Rothbard. A one-of-a-kind, book-matched walnut slab dining ta...

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 ...

This gorgeous dining set is produced by Glostrup Mobler from Denmark. The chairs are beautiful sculptured. The back of the chair and the joints has some beautiful details. It´s solid oiled scandinavian pine wood. The dining table has an ellipse shape. Unfortunately the extension top is missed so you can´t use the extension, only the normal measures. It contents 4x dining chairs...

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...

A stunning vintage modern Danish teak pedestal base dining table with two leaves by Skovby Mobelfabrik. This attractive set caters to many with the ...

A bentwood table and four chairs designed by Czech architect Jan Bočan for the Czechoslovak Embassy in Stockholm. Designed in 1970 by Jan Bočan, Jan Šrámek, Zdenka Rothbauer and Jiř...

Dining room set with round table and four matching chairs, solid elm, leather, France, 1970s This French dining set, constructed entirely from solid elm, exemplifies a 1970s blend ...

Dining set by Pierre Cardin for Dillingham comprises a rectangular dining table and six dining chairs in chrome-plated steel. The expandable dining table has with three new, mirrored...

A fantastic Curvilinear dining table by Paul Evans for Directional circa 1970s. Model PE-509 with Olive Burl wood patchwork contrasting the shades of brass. Heavy and substantial, th...

This beautiful dining set comprises a Regency Revival flame mahogany dining table  by the Master Cabinet maker William Tillman and bearing his label on the underside in date, with the matching set of six bar back dining chairs, Circa 1970 in date. The table has a fabulous 5ft 3inch diameter flame mahogany top with satinwood banding and it is raised on a solid mahogany hand carved swept quadruped base which is fitted with brass lion's paw  castors. There is no mistaking the fine craftsmanship of this handsome table, which represents all the very best elements of English furniture making. It is certain to become a treasured addition to your furniture collection and a talking point with guests at meal times. The set of six bar back chairs...

Billy Haines style faux bamboo and bronze dining set. The table and chairs have faux bamboo wood frames with bronze mounts. The table has a smoked glass top. There are four chairs wi...

Hansen Sorensen Dining room table with 6 chairs, 1970 Denmark The Hansen Sorensen dining room table with 6 chairs from 1970 is a beautiful additio...

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...

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...

Beautiful tripod dining table model "Eros" from the Italian designer Angelo Mangiarotti from the 70s. The legs (independent) and the top are in Car...

Sehr besonderes und seltenes Esszimmer Set vom niederländischen Designer Derk Jan De Vries für Maisa Di Seveso Mailand aus der „Samara“ Serie, bestehend aus einem quadratischen Essti...

We are very pleased to offer a stunning dining table attributed to Suzanne Dahl & Jerry Barich, circa the 1970s. Tusk-shaped legs, lucite, brass, and glass, all exquisitely combined ...

A solution for upper middle-class furnishing, with effect and impact. Visible quality and elegance of design. The set for three persons consists of: a table H 48 cm x diameter 119 cm...

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...

This highly stylized set is by Ferguson Copeland The glass top sits on a base with two supports Of carved wood and is silver gilt. The chairs are A set of ten consisting of two arm ...

Designed by Gilbert Marklund for Furusnickarn AB, Sweden 1970s. Unique and durable, solid pine wood dining table in original condition. Exceptionally sturdy, showcasing impressive Sc...

Mid-Century Modern; Italy; 1970s; Hugonet; Dining Set; Modernist; Paris; France; Plexiglass; Bamboo; Hugonet "Sea Side" dining set - a beautiful embodiment of midcentury modern eleg...

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...

The Arch line was created after Charles started working with the owner of the Raiders, Al Davis while designing a set of chairs for his executive office in Beverly Hills with the feeling of a football helmet, and the silhouette of a dome. The most creative arch that Charles has designed is the arch of the Le Dome table...

Carrara marble oval table set with six armless tulip chairs reupholstered in genuine black leather.

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

1970s dining set by Rainer Daumiller, crafted entirely from solid pine. This timeless ensemble comprises a robust round dining table and four accompanying stools, each bearing the un...

THE FOUR CARDINAL POINTS Rosenthal Kunstmöbelreihe This noteworthy design is the work of Bjørn Wiinblad. The furniture pieces were produced in a limited edition of 300 in 1976. E...

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 ...