Plastic Dining Room Tables

Beautiful lucite pedestal base for a large dining table having an octagonal shape made of 1.75 inches beveled lucite. Measurements: 24.50 inches wide x 24.50 inches deep x 28.50 ...

Slab coffee table by Imperfettolab 2020 Dimensions: 179 x 99 x H 74 Materials: Fibreglass Available in black and white. Pure geometry for this table that reveals an oval-shape...

- good/very good condition with minor signs of use.

Plateau table 190 by Imperfettolab Dimensions: Ø 190 x H 74 cm Materials: Fiberglass Available in black and white. Imperfetto Lab Who we are? We are a family. Verter Turroni,...

Lucent side table by Fabian Zeijler Dimensions: 50 x 50 x 52.7 cm Materials: Brass, faux translucent stone and plexiglas Other color options are available. Note: The veins in...

Discover the perfect balance of brutalism and minimalism with our stunning sculptural dining table from Eero Moss studio's latest collection. Crafted with th...

Introducing our stunning smaller dining table from Eero Moss studio's latest collection, designed to embody the beauty of brutalism and organic textures in a...

Introducing the perfect blend of brutalism and minimalism with our stunning smaller dining table from Eero Moss studio's latest collection. Expertly crafted ...

Ztista oval table by Faina Design: Victoriya Yakusha. Dimensions: W 170 x D 110 cm x H 74 cm Material: Upcycled steel frame and live ZTISTA Material - a blend of cellulose, clay, ...

Introducing our stunning dining table, a seamless blend of brutalism and minimalism, featuring an organic texture that is both rugged and refined. This masterpiece is part of our lat...

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

Vintage dining table with plexiglass base and glass top. Beveled rectangular glass top. 190x100x74 cm. Some signs of wear on top and base.

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

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-whi...

Oval dinning table by kars Dimensions: W 216 x D 96 x H 74 cm Materials: MDF Frame Kar, is the root of Sanskrit Karma, meaning karmic repetition. We seek the cause and effect in ae...

Dumbo dining table by Mary-Lynn & Carlo The Elephant Project Dimensions: H 76 x W 315 x D 110 cm Materials: Concrete colored, foam polystyrene Finish: Water, stains repellent ...

Carbon Claro table by Tokio Dimensions: D 130 x W 300 x H 75 cm. Materials: walnut, carbon fiber. Asobi is a creative consultancy specializing in prod...

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...

A very large custom-made circular dining table (or commercial display centre table), in the manner of Jacques Dumond. The base is formed by Y-shaped thick lucite panels and chrome fittings, which support the big and heavy round glass top. Originally custom-made in 1990 for a prestigious fashion boutique in Brussels. Acquired from their first owners in Brussels and imported in to UK, the table spent most of its time covered...

Beautiful Ron Seff Art Deco Style dining room table, can also be used as a desk. Shagreen top and lucite legs with brass accent.

Up-and-down "Versitable" by Tepper-Meyer Associates of San Francisco, produced by Fred Meyer circa 1954. The two-position design can function as a dining or writing table in the high...

Kaa Buffet table by Mary-Lynn & Carlo Dimensions: 200 x D 50 x H 92 cm. Materials: concrete colored, foam polystyrene Finish: water, stains repellent. Color can be customized. ...

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 ...

Jerry round table by Mary-Lynn & Carlo Dimensions: D 150 x H 40 cm Materials: concrete colored, foam polystyrene Finish: water, stains repellent Color can be customized. Mary...

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 ...

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...

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...

EM202 dining table by Eero Moss One of a kind Dimensions; W 308 x D 90 x H 78 cm Materials: Walnut, ash, fiberglass, acrylic resin, India ink. Finish: Natural oils. 18 Brut Co...

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 ...

Through a conversation of raw materiality and distinctive shapes the New Wave collection illustrates the designers fascination for oceans force. To build the collection Lukas Cober ...

This gorgeous Nineteen-Laties Lucite table is almost ghostly as it the clear glass top and acrylic pedestals seem to vanish in the sight line. The two thick Lucite pedestals are asymmetric wedges resembling a three dimensional scalene triangle. The sleek rectangular glass top is half inch thick with a green tint along the edge. The table gleams as light moves through the glass and Lucite. Imagine this in front of a window, shimmering in the light, disappearing on the horizon as not to obstruct you water, mountain or urban view. Get creative with the bases. You can position these bases a variety of ways to create a different look. The bases can also accommodate different size glass tops and different shapes. A round or oval glass top would work just as well as a rectangle or square. Let us know if you would like to purchase the bases without the glass top. We will let you know the adjusted price and shipping. We also have two more sets of Lucite table bases...

A glass and lucite dining table with a pedestal base in the style of hollywood regency. Manufacturer - Unknown Design Period - 1980 to 1989 Style - Hollywood Regency Deta...

A very chic and impressive dining room octogonal table, on an octogonal base in black lacquered wood, with a top in black plexiglass hooped by a bronze or brass golden belt...

EM206 dining table by Eero Moss One of a kind Dimensions; W 170 x D 122 x H 77 cm Materials: Walnut, ash, fiberglass, acrylic resin, India ink. Finish: Natural oils. 18 Brut C...

EM204 dining table by Eero Moss One of a kind Dimensions; W 303 x D 89 x H 78 cm Materials: Walnut, ash, fiberglass, acrylic resin, India ink. Finish: Natural oils. 18 Brut Co...

EM205 dining table by Eero Moss One of a kind Dimensions; W 140 x D 120 x H 77 cm Materials: Walnut, ash, fiberglass, acrylic resin, India ink. Finish: Natural oils. 18 Brut C...

Textural, organic, and terribly chic. This 70's dining table or desk is sheathed in tobacco leaves and given a acrylic finish to complement its sleek simplicity.

Scroll down and click "view all from Seller" to see more than 400 other unique products. (2.2) Set of 1 white rabbit tree dining table, 1 rabbit chair & 1 white baby rabbit chair...

Interior painted steel structure. Central leg and base in breglass with a gloss (strengthened gel for durability) nish. MDF veneered table top in Polaris with a matte nish by Abet Laminati. The underside and the borders of the top are lacquered in a matte nish. The collaboration between Jaime Hayon and BD Barcelona Design started 15 years ago. Since, we have developed a ton of designs and variations together divided into three large collections: Showtime, Gardenias and Explorer. The Explorer collection...

- Measures: 27.5"H, 44"W, 44"D. - Lucite pedestal base dining table with octagonal glass top. - Condition: Excellent; two minor nicks to edge of glass.

Through a conversation of raw materiality and distinctive shapes the New Wave collection illustrates the designers fascination for oceans force. To build the collection Lukas Cober ...

Contemporary Pink Round Table Hand-Crafted 100% Recycled Plastic by Anqa Studios. Incredible conversations happen around incredible tables. ANQA Studios r...

Famous Otto Zapf ’Column Dining Table’ - early version with beveled edge, around 1967, later these tables were made with rounded edges. Completely restored and painted in ’yolk yel...

The round glass top resting on a bound bamboo legs joined by stretchers; with small rubber feet.

Contemporary Palm Green round table handcrafted 100% Recycled Plastic by Anqa Studios Incredible conversations happen around incredible tables. ANQA Stud...

A gathering place of reunion. Passing plates around. Constant laughter and comfort. The bedrock of family. Dimensions: Diameter 60 in. (132 cm), height 29 in. (73.6 cm). Weight 13...

Classic Butterfly Lucite dining table. Lucite base with 3/8”beveled glass in excellent condition. Attributed to Lion in Frost.

Through a conversation of raw materiality and distinctive shapes the New Wave collection illustrates the designers fascination for oceans force. To build the collection Lukas Cober ...

Contemporary white grey round table hand-crafted 100% recycled plastic by Anqa Studios Incredible conversations happen around incredible tables. ANQA Stu...

Contemporary black round table handcrafted 100% Recycled Plastic by Anqa Studios Incredible conversations happen around incredible tables. ANQA Studios round table is a geometricall...

Contemporary Iced Coffee Brown Round Table Hand-Crafted 100% Recycled Plastic by Anqa Studios Incredible conversations happen around incredible tables. ANQA Studios round table is a...

Adesso dining table by Kenneth Cobonpue Materials: Fiberglass. Aluminum. Dimensions: Diameter 100 cm x height 73 cm The boldly colored frame and geometric weave pattern of the ...

Butterfly oblong table by SEM Dimensions: D250 x W110 x H78.5 cm Material: polyester glossy lacquered finish. Costumized sizes, colors and top availab...

Outdoor oval dining table hand sculpted of reinforced resin and lacquered in matte finish. This inspiring masterpiece with its artistic sculp...

Amena dining table by Simon Hamui Dimensions: D 330 x W 150 x H 73 cm Materials: stone, acrylic Also available in different dimensions. Dining table designed to seat up to 20 people. The table top is made of stone with a linear cutout down the center that includes an acrylic vase for flowers or floating candles...

An unlikely material takes on an iconic form. Strength and durability, sculpted with fragility and elegance. Form and function in one. Dimensions: Diameter 48 in. (121.9 cm), height 30 in. (76.2 cm). Weight 80 lbs. (36.3 kg) Finish color options: white stone natural stone aged stone key stone...

Calyx dining table by Kenneth Cobonpue Materials: Polyethelene, Steel. Stonecast. Dimensions: diameter 100 cm x height 74cm Like the lustrous diamond, Calyx features a matrix ...

A simple, block form showcases every angle of our natural stone aggregate. Dimensions: Width 48 in. (122 cm), depth 48 in. (122 cm), height 30 in. (76 cm). Weight 80 lbs. (36 kg)...