Plastic Dining Room Tables

Stunning Mid-Century Modern Lucite and tulip chrome bases chairs with matching round 36 diameter x 29" height glass top dining table. Shiny black patent l...

Type of Wood: Black Walnut Wood Dimensions: 79" x 39" Leg Model: Wood Customizable: Available! Production Time: 3 Weeks Shipping Cost: Free! Package Method: Wooden Pallet River dini...

Space Age vintage Dining Room Set consists of a circular like dining table and six matching sculptural dining chairs from white lacquered fibe...

Russel Woodard spun fiberglass oval racetrack glass top dining table 4 chairs outdoor set Stunning grayish blue and white colors spun fiberglass design frames. Table measures: 43 x 62...

This extraordinary table achieves a striking balance between the natural warmth of wood and the precision of modern engineering. The substantial tabletop is crafted entirely from oak...

Transform your dining space with this stunning Mid-century Mod Lucite & Glass Round Dining Table by Charles Hollis Jones. Combining sleek modernist lucite legs with a pristine glass ...

Glacial Square Dining Table — Sculptural Luxury in Crystal Mixed with Acrylic A sculptural square dining table designed to create a balanced and intimate dining experience. The Gla...

  Introducing the Charles Hollis Jones Lucite & Brass Dining Table from the "Metric" Collection, Signed. This stunning piece of furniture is a true masterpiece, designed by the reno...

Vico Magistretti for Artemide dining table A Mid-Century Modern dining table designed by Vico Magistretti and made by Artemide Milano. R...

Charles Hollis Jones "Metric" Lucite & Brass Dining Table Materials Polished Brass, Polished Lucite, New Glass Top

GUBI’s new Carmel Bistro Tables from OEO Studio blend the Californian-inspired vibrancy of their coffee tables with the timeless elegance of European café culture. Designed for both ...

The table is manufactured of continuous and aligned glass fiber-reinforced resin composite, a highly resistant and durable material. Meticulously handmade by skilled artisans one p...

Moss Brown Formless Fiberglass Round Table by kar Unique Piece Dimensions: D 100 x H 75 cm. Materials: Fiberglass. Available in Moss Brown or J...

This striking glass top desk or table, manufactured by popular 1970s acrylics company Lion in Frost, features two thick lucite and raw edge carrara marble corner pieces with brass fi...

Hollywood Regency lucite and glass dining table. Round 3/4" thick glass top, with space to comfortably seat 6 people. Likely dating from the late 70's or early 80's. Very good condit...

A variant of our monolith with a pleasing sense of symmetry. Its form evokes a chess table in the park; an equal meeting point for all. Dimensions: Width 48 in. (122 cm), depth 48 i...

Incredible vintage MCM (Mid-Century Modern) Eames for Herman Miller racetrack oval conference or dining table with a black universal segmented base and a light blonde laminate top wi...

Vintage Lucite dining table designed and manufactured by Charles Hollis Jones. The table is made entirely out of Lucite, the top is 1.25 inches thick with a bevel edge. The table i...

GEM coffee - dining tables Combining contemporary modern style with details inspired by our glass tradition, Sabrina Landini GEM tables reinterpret our legendary links into head...

"Dorian" table by Sebastiano Bottos is a complex Corian made shape deriving from a simple design: an elliptical surface supported by a bent base that delicately skirts its vertices. ...

Infinity Arc Dining Table — Sculptural Luxury in Crystal Mixed with Acrylic The Infinity Arc Dining Table by Dainte Inc. is a refined expression of contemporary design, where fluid ...

This square table by Warren McArthur, circa 1938, embodies the refined industrial elegance that defines the designer’s work. With its compact yet generous 42 x 42 inch footprint, it ...

This is a Segmented Conference Dining Table, Model ET149, initially designed by Ray and Charles Eames for Herman Miller in 1964. These pieces date to the 1990s. The listed price incl...

This is a Segmented Conference Dining Table, Model ET143, initially designed by Ray and Charles Eames for Herman Miller in 1964. This particular example dates back to the 1960s. This...

Stunning and unique "Skyscraper" dining or center table in Lucite and chrome designed and manufactured by Charles Hollis Jones and originally commissioned by Loretta Young. The fi...

Regency Hollywoodian dining table in the style of Maison Jansen, designed by the French designer Pierre Cardin in the 1980s. This large octagonal table...

Introducing the stunning Lucite & Brass Dining Table by Charles Hollis Jones, a true masterpiece of mid-century modern design. Crafted in the USA during the 1960s, this exquisite din...

2 - Pair of unique brutal fiberglass unicorn horse head bases, with original glass top. 2 large fiberglass horse heads with faux bronze and patina ...

Contemporary dining table made of fiberglass-reinforced acrylic resin in a matt white lacquer or in natural fiberglass finish. Both finishes are suitable for outdoors. The reinforced...

Glass top dining table with Lucite banded legs.  Currently out of stock but available for custom order in different sizes and materials. Please inquire about estimated production le...

Vintage Mid Century Modern Lucite base Dining Table. Circa 1970s. Features a Lucite base decorated with black arches with a removable glass top with notched corners. In excellent ori...

The table is manufactured of continuous and aligned glass fiber-reinforced resin composite, a highly resistant and durable material. Meticulously handmade by skilled artisans one pi...

Beautiful dining table designed by Charles Hollis Jones and, manufactured by Swedlow in the 1970s. This piece was in production for only three years and only a handful of them were ...

Osvaldo Borsani Style Circular Dining Table, white top over chrome base. 30.5" H x 72" Diameter. Provenance: From a New York City Collection.

For FULL item description click on More Details below. Shipping Quote Information The shipping quote stated in the listing was from 1st Dibs and they normally set all the costs and handle all the shipping details. However, if you let us know what 1st Dibs is quoting you and give us your zip code, we can usually ship it for less and get it to you faster. For a shipping quote, click on "ASK THE SELLER" under the purchase button and provide your zip code. Offering One Of Our Recent Palm Beach Estate Fine Furniture Acquisitions Of A Sculptural Mid Century Modern Lucite...

This is a Segmented Conference Dining Table, Model ET143, initially designed by Ray and Charles Eames for Herman Miller in 1964. These pieces date to the year 2008. They feature a re...

This dining table was produced in Italy during the 1950s and features a glass top with a central basin. The top and legs feature skai, as do the edges of the piece in the form of a t...

Substantial Lucite and Brass Dining Table, Etched Glass Top Offered for sale is an impressive and very substantial dining table with two thick Lucite bases with brass bands. The or...

Handcrafted of fiber reinforced resin, a forceful material for extreme weather conditions. Lacquered in matte beige with protective UV coat. Dimensions (cm): 300 x 130 x 75 Dimensio...

Very nice Mid-Century Modern high quality heavy and massive Lucite base dining table.

Italian lucite, brass and aluminum pedestal table base, ( ONLY) circa 1970s. Created by artist Romeo Rega. Base diameter measures 19".in diameter... Can hold desired glass top.. Han...

Very rare dining table (Wicked 64) by Johanna Grawunder for Post-Design Milan, 2001. Dimensions are 31.1" x 63" x 30" New York based designer/architect and former partner of Ettore Sottsass, Johanna Grawunder, designed this piece for her Lowrider collection very much in the spirit of the Italian Avant Garde. It's fully coated with rubber with a leather-ish smooth touch. The glass table top can be illuminated which casts a fairly mystical glow...

Ron Seff Goat Skin Lucite base versatile extra-large expandable dining/conference table, when closed 72" with two leave 20"each when fully opened 112" in exceptional condition bevel...

Introducing "Le Dome" Lucite & Stainless Steel Dining Table, a stunning vintage masterpiece designed by Charles Hollis Jones in the 1970s. This exquisite piece of furniture captures ...

Italian rectangular dining table in Brazilian rosewood veneer with a high-gloss polyester finish. The fixed top features a striking sunburst veneer pat...

Very fine Pace Collection dining table featuring a 3/4" glass table top with four polished lucite legs, and Pace signature polished steel caps. A wonderful size at 68" X 42" will com...

Vintage round glass table with modern curved tripod lucite pedestal base in style of Charles Hollis Jones.

Introducing the Charles Hollis Jones Lucite & Brass Dining Table from the "Metric" Collection, Signed. This stunning piece of furniture is a true masterpiece, designed by the renowne...

The Smash Dining Table is a monumental luxury dining table designed as a sculptural centerpiece for refined interiors. Crafted in premium Black Marquina marble and supported by a dis...

Mid-Century Modern tussle woodard outdoor large 44" fiberglass dining table. Base only no glass.

An impressively Lucite console in the manner of Karl Springer with glass top. It has two lyre pedestal flanked by two columns in each side. Both pedestal are joined by two lucite s...

Awesome Mid-Century Modern spun fiberglass round dining table. It has a 48-inch diameter 3/8-inch glass top and a fresh coat of black paint. ...

AMBIANIC presents 1960s Mexican modernism Sensational Dining Table mahogany wood wrapped in leather solid brass hardware. New lucite tabletop oval shap...

An Original & Rare Black Ash & Aluminium Arkana Circular Dining Table With Three Black & Orange Matching Tulip Model 115 Dining Chairs. Engra...

Pedestal table base, by Romeo Rega, having a round top of glass, on its base of graduated disks of copper with verdigris finish, raised on a column of Lucite rods with chromed-metal ...

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...

Marble top caribe chic dining table by Sebastian Herkner Materials: Galvanized and powder-coated tubular steel. PVC strings are made from recycled p...

Handcrafted dining table seats six, suitable for indoor and outdoor settings. Structure made of resin reinforced with fiberglass and lacquered in matte white color. The top is made o...

Sleek dining table executed in Lucite and nickel designed in the 1970s by the Lucite icon, Charles Hollis Jones. The table is part of Charles Hollis Jones "Waterfall" line which it w...

1960s Charles Eames aluminum group conference or dining table with segmented solid aluminum four star base. this sleek and elegant design by Charles and Ray Eames complements any ho...