Plastic Dining Room Tables

“Tulip” set by Maurice Burke, Arkana edition 1960s table with four chairs by Maurice Burke for the English manufacturer Arkana. The cross-shaped legs are made of cast aluminum coate...

Sculptural 1980s Lucite Tusk Mid Century Modern Table similar in material and form to Charles Hollis Jones pieces. The look is clean. Modern. Air and light. This table is a great cho...

Space Age vintage green dining table or patio table from fiberglass plastic designed Helmut Bätzner for Bofinger, 1960s, Germany. The dining table is st...

Rainbow originates from a marble base recovered from an 1980s project by Maurizio Cattelan. From this historical element, a partial acrylic leg introduces a transition between eras, ...

Square Lucite and brass dining table designed and manufactured by Charles Hollis Jones and part of his "Metric" line. The table is in excellent condition, the metal and sizes can ...

Charlotte Perriand Square Table for Les Arcs

One table in brass and Lucite is ready to ship; top size and shape can be customized. Beautiful Lucite and brass dining table by Charles Hollis Jones from the "Post & Truss" colle...

Modern 1970s Vladimir Kagan Lucite and chrome dining or center table. Tempered circular glass top with frosted circle detail rests atop a splayed lucite base bolted with chrome pegs. Light. Airy. Modern. Unlike wood or other solid tables, this Vladimir Kagan table doesn't clutter or weigh down a space. The table doesn't interrupt perspective or view and allows for pass through light. Perfect choice for smaller spaces - see through lucite and glass makes rooms look bigger. Only one of its kind available. Want to see more beautiful things? Scroll down below and click "View All From Seller" or favorite our shop to get your 1stDibs on our new inventory. Photographed and also currently available at our shop: Set of 12 Vladimir Kagan for Kagan-Dreyfuss steel dining chairs in Ivory Bouclé Set of ten...

Very high quality elegant massive luxury dining table. It is an absolute highlight and something very special. the plate is made of solid Glass and weighs around 50 kilograms. It is ...

Sculptural Italian Lucite and Chrome Dining Table, designed by Alessandro Albrizzi, Italy, circa 1970s. The base is strong enough to take a larger top if you need a dining table that...

Chrome and brass Lucite base table octagonal beveled glass top dining conference table.

This is for a table only - no chairs. The Staron dining table by Wharf Workshop is a striking contemporary design that pairs sculptural form with everyday practicality. Defined by i...

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...

We currently have one piece in nickel and one in solid brass ready to ship. Stunning dining table design in 2011 and part of Charles Hollis Jones "Bullet" line. The base forms a ...

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

Spring Dining Table in Resin, Stone Aggregate & Fiberglass by Zachary A. Design Dimensions: Ø 91,4 x H 73,7 cm. Materials: Resin, stone aggregate, and fiberglass. Based in, pro...

The Container Table Classic, designed by Marcel Wanders studio, is the foundation you build your home around. This lightweight design is easy to move around, but once it’s found its ...

Dining table in resin reinforced with fiberglass in aged gold color finish.

The CANTO Table distills structural clarity into a striking and flexible piece. Made from welded anodized aluminum angle and sheet, its form is reduced to essentials — a pure, stable...

This is a Segmented Conference Dining Table, Model ET151, initially designed by Ray and Charles Eames for Herman Miller in 1964. These pieces date to the 1980s. The listed price incl...

70's table composed of an elegant mix of metals with polished brass and steel finish. The central base is made of full honey-colored plexiglass with a diameter of 20 cm. The smoked glass top in the image is 15 mm thick and can also be modified with a more generous size top up to 150 cm, designer Romeo Rega little chipping on the side of crystal plane. Romeo Rega is born in Rome on 10 October 1925, third of six children, born and raised in the Trastevere district, in the heart of Rome. THE FIRST BIG STEPS. He is 27 years old when, in 1957, he enrolls in the Albo provinciale delle imprese artigiane (Provincial Register of Craft Enterprises) and opens his first workshop in Vicolo della Frusta 6, where he collaborates with talented masters of wrought iron and forging. At this point arrives the first important order: the design and manufacturing for Cinecittà of the chariots for the American colossal film Ben-Hur, which will be published in 1959. He stays in Vicolo della Frusta until the end of the 1960s, a period in which he dedicated himself to his favorite activity: the design of his own pieces and the relations with people. Among his clients there are personalities from the world of cinema and entertainment, such as Marcello Mastroianni, Renato Rascel and his wife Giuditta Saltarini, Massimo Ranieri...

The Branch Wave Dining Table is a true statement piece that combines modern artistry with everyday functionality. Designed to resemble the natural flow of ocean waves, this clear acrylic dining table features a transparent crystal-acrylic surface that reflects light beautifully, creating a bright and airy atmosphere in any space. Its sculptural base, inspired by intertwining branches, makes this unique table both artistic and functional, transforming it into more than just furniture—it’s a work of luxury decor. Measuring 78.75" L x 39.37" W x 28.35" H, this modern dining table provides ample space for family dinners, formal occasions, or social gatherings, while its durable acrylic dining table base ensures stability and elegance. Perfect for use as a dining room table in luxury homes or as a clear living room table in open-plan spaces, the Branch Wave Table blends seamlessly with both minimalist and sophisticated interiors. Whether you are looking for a luxury dining table, a modern dining table, or a clear acrylic table that doubles as a decor table, this piece elevates any room with timeless elegance and contemporary style. Luxury Dining Table with Modern Elegance – A centerpiece that enhances your dining room decor with its transparent design and artistic base. Clear Acrylic Tabletop – The wave-inspired surface is crafted from clear acrylic material, reflecting light for an open, spacious look. Versatile Style: The sleek design complements various décor styles, from contemporary to classic, seamlessly blending into any environment. Sculptural Acrylic Dining Table Base – Designed with intertwining branch-like details, the base adds both durability and unique artistry. Versatile Style – Works beautifully as a modern dining table, fancy dining...

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...

DIMENSIONS: L 280 cm / W 125 cm / H 65 cm (may be customized) *note: each piece is 100% unique & handmade by the artist, dimensions may vary 1-2 cm. MATERIALS: Jesmonite, ac...

Pair of 1970’s clear lucite and polish brass “Regency” dining table bases by American renowned designer Charles Hollis Jones. They can be used together with a rectangular , oval o...

This elegant vintage Karl Springer console table, writing desk, entry table or dining table has 4 arched lucite columns that rest on a 22 carat gold plated over brass angled plinth p...

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...

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 ...

Indoor-outdoor table, moulded rigid polyurethane base with internal central leg in steel, purenit top. Base and top entirely coated with a hand-trowelled mixture of lava stone

Mid Century Modern Herman Miller 48” Dining Table This dining table is a timeless piece that effortlessly combines elegance and functionality. Crafted with a cream top and chrome pe...

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...

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...

Italian Oval dining table Nodo by Carlo Bartoli for Tisettanta, 1970s Dining table mod. Nodo with oval top in black painted wood and black rubber rounded profiles. The base is made u...

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...

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...

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

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

This is a Platner dining table, model 3716T, initially designed by Warren Platner for Knoll in 1966. This example dates to the late 1960s. Its design features a base constructed with...

Many consider Charles Hollis Jones "Le Dome" his finest work. Part of his "Signature Collection" in 1977 and crafted by Swedlow (an aviation specialist in Southern California) this r...

Oval Boat Shape Glass Top Butterfly Lucite Base 88" Long Dining Conference Table MINT!

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...

The Gran Sasso Dining Table by Midj was designed by the Italian designer Andrea Lucatello. In this fixed table design, Lucatello uses an organic-shaped Baydur polymer for the base m...

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...

Modern Lucite and glass dining / kitchen table, center table, American Designer, 2000s This strong and sturdy dining table is sleek and stylish having a thick Lucite base with curved legs leading to a bow top supporting a thick glass table...

A commanding Hollywood Regency dining table of exceptional graphic presence, the design built entirely around the visual drama of its pedestal base. Alternating square-format discs o...

A studio crafted table created in the 1970s from an interesting and unique selection of cast iron gears, sprockets, and various splined drive shafts...

Italian space age white cream plastic and wood round dining table, 1970s Space Age dining table, with round wooden top and tulip-shaped leg in cream-whit...

White round table by kar Materials: FRP Dimensions: 120 x 74 cm *This piece is suitable for outdoor use. A combination of smooth and steady, a good adaptation to various interior s...

This is a Postmodern Extension Dining Room Table, designed by Peter Maly for Tonon Italy in 1990. The base of the piece features a triangular motif, and has centralized tubular steel...

This stunning octagonal Dining table, attributed to renowned designer Charles Hollis Jones, hails from the glamorous 1970s–1980s era. It features a clear acrylic (Lucite) base with b...

Signed Lion in Frost Lucite and brass dining table base Hollywood Regency Leon. this is sold as a table base only - no glass top available.

A striking signed Jeffrey Bigelow dining table, model “Towers”, crafted in 1991. The table features a monumental sculptural base composed of geometric acrylic towers rising from a br...

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

Explorer 5B dining table by Jaime Hayon Dimensions: D 100 x W 220 x H 74 cm Materials: Lacquered fiberglass body. Solid turned wooden legs and lacquered. Painted glass tabletop. ...

Designed by William Sawaya, titled "Girl's Best Friend" table for Sawaya & Moroni Italy, circa 2000. Stainless steel with yellow acrylic beads over the legs. Top is glass with a pie...

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...

The Saucer Dining Table by Brent Warr features a striking interplay of form and balance. Each of its four legs is grounded by a pair of stacked spherical shapes, creating a bold yet ...

1950s dining table attributed to Francisque Chaleyssin. An extension available.

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...

This gorgeous vintage modern dining table features a brushed metal top and a Lucite base. This one of a kind piece has two separate Lucite pieces supporting the table top. A sleek de...