1970s Dining Room Sets

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...

Vintage 1970s garden or patio set with table and four comfortable bamboo chairs. Note the quality of the items; the glass is 1cm thick. Ideal as a vintage garden dining set or also...

On offer on this occasion is one of the most stunning and rare, hand painted wood inlay dining table you could hope to find. Outstanding design...

A lovely little vintage cast aluminum dining set by Robert Josten from the 1970’s. Dark wood seats. The table is somewhat rare in this shape and size. The wood seats are in good con...

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...

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 ...

Very rare vintage, untouched and weathered dining set designed by Preben Fabricius and designed for Interplast. We offer 4 stackable chairs and a dining table. This cool space age ...

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...

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 ...

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...

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

Table with 6 chairs naval style 1970 - 1980 More information about the conditions Solid mahogany dining table with 6 chairs Table size: H78 x L175 x D85 - Kg80 Chair size: H95 x W51 ...

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

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 ...

Pierre Chapo Set – 6 S28 Chairs, T01D Table (+ a Pair of Stools in the Style) This timeless and elegant set includes: 6 S28 Chairs: Made of solid elm, these chairs stand out for th...

Tito Agnoli for Matteo Grassi leather dining table and six chairs. The table has the same beautiful brown color and is covered with leather. The glas...

Rare dining set designed by J.J.P. Oud and manufactured by Kollektor Perpetuel Den Haag, Holland 1979. This set was originally designed for eissenhof Siedlung Stuttgart in 1927. This...

A rectangular stainless steel framed dining table/ desk with a white marble top. Two tables could be placed end to end to make one continuous ...

The midcentury Italian set of four chairs and table from the 1970s, crafted in giunco wood, exudes a rustic charm and timeless elegance. The chairs feature a stylish and ergonomic de...

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...

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...

This mid-century modern burl dining set was designed and manufactured in the United States in the 1970s. This striking rectangular dining table is supp...

Mario Bellini design first edit two horse "scacchi" for C&B italy production years 1968 this is very rare set first edition from C&B Italy and not for the after b&b. auction ...

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...

Table with eight chairs, Italy 70s Measurement: table cm 216 x 88 x height cm 74 chairs cm 48 x 50 x height cm 95; seat height cm 47

1 side board with two smoked windows, strap handles and chrome metal support, lacquered black marble top, sides and rear are covered with black felt and a table with sliding tray 87 X 120 X H 73 cm becoming 241cm trademark has Milano and 6 chrome chairs...