Plastic Dining Room Tables

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 ...

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

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...

Step into a world where function becomes sculpture. This captivating dining table, sculpted from crystalline Lucite, commands presence through its transparent minimalism and architec...

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...

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...

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.

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 ...

1970’s studio ‘Lattice’ dining table by American renowned designer Charles Hollis Jones. Charles only made one that is this size. This is a one of...

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...

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

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...

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

Oval dinning table by kar Dimensions: W 216 x D 96 x H 74 cm Materials: Wood, Black Ash Veneer Kar, is the root of Sanskrit Karma, meaning karmic repetition. We seek the cause and e...

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...

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

Hive Dining Table in Resin, Stone Aggregate & Fiberglass by Zachary A. Design Dimensions: Ø 81,3 x H 73,7 cm. Materials: Resin, stone aggregate, and fiberglass. Based in, produced,...

Striking set of sculptural dining table bases composed of thick, faceted Lucite legs capped with hand-finished brass piece. Each base forms an architectural “A-frame” silhouette, giv...

Simple, geometric construction provides a congruent silhouette from any angle and guides the eye around its surface. Dimensions: Diameter 36 in. (91 cm), height 29 in. (74 cm). Weig...

Set of explorer 5B dining table and showtime nude chairs by Jaime Hayon Dimensions: D 100 x W 220 x H 74 cm and D 55 x W 52 x H 79 cm Materials: Lacquered fiberglass body. Solid tu...

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

This handsome dining set features six hand-sculpted clear lucite side chairs. The six chairs are rendered in thick Lucite and are inset with back and seat cushions in royal blue velv...

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, ...

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...

A rare find, this dining table exemplifies the designs by Sandro Petti for company Metalarte around 1970. A thick transparent glass surface has a striking oblong shape and rests atop...

A rare polish chrome, brass and clear Lucite game table from “Post Line” by renowned American designer Charles Hollis Jones. All the metal has been newly re-plated and the Lucite has...

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...

The Giorgio Collection Charisma Italian rectangular table is a stunning piece that combines luxury and elegance. Featuring a grey Alpi marble top, it offers a sophisticated surface t...

A great modernist table by the furniture designer Charles Hollis Jones with lucite and chrome plated metal supports and glass top with polished edges.

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 ...

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...

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...

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

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...

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...

Considered one of the most emblematic design objects of the 20th century, Tour is a clear homage to Marcel Duchamp’s Bicycle Wheel, a key work of Dadaism and a major reference point ...

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. ...

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 ...

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

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 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...

Contemporary architectural dining table designed by Studio Le Opere e i Giorni It features a striking, triangular reist-shaped wood top (often finished in high-quality walnut) with ...

Glamorous dining table designed by Jeffrey Bigelow for Spectrum LTD, circa 1976. Scrolled cast-bronze base anchors four gently arched, faceted cast-acryli...

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...

Charlotte Perriand Square Table for Les Arcs

This is an original T Angle dining table, Model 309, designed by Florence Knoll for Knoll International in 1952. It features a square top of white laminate, and has black enameled st...

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 is a Walnut and Leather Desk Table, Model 64906, designed by George Nelson and Robert Propst for Herman Miller in 1964. The design was a part of the Action Office Series. This e...

Callux Dining Table by Three One Four Studio Unique Piece. Dimensions: D 120 x W 240 x H 75 cm. Materials: Recycled modelboard, fiberglass, plaster, paint, brass, and acrylic. Callu...

Horn Collection, dining tables, restored lacquered polyurethane plastic, Germany, 1970s Created for the Horn collection in the seventies, this well-formed table is made entirely fro...

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...

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...

Zanotta Small Quaderna Table/Writing Desk in White Plastic Laminate, Superstudio Honeycomb core structure coated with white plastic laminate, digitally...

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...

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 ...

Italian architect and designer Claudio Salocchi (1934–2012) studied architecture at the influential Milan Politecnico University before embarking on a design career that lasted some ...

Horn Collection, dining tables, restored lacquered polyurethane plastic, Germany, 1970s Created for the Horn collection in the seventies, this well-formed table is made entirely fro...

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 ...

Magnificent Italian table from the 1970s. It has a superb structure in very light mauve colored plexiglass. This plexiglass has not suffered any damage, however it has some scratches...

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...