Plastic Dining Room Tables

Vintage Russell Woodard Woven Fiberglass Mid Century Modern Round Pedestal Dining Table Base. Item features spun woven fiberglass construction, quality American craftsmanship, great ...

Chunky Lucite pedestal and glass dining table in the style of Charles Hollis Jones. This table measures 29.25"t x 48" in diameter and just the base measures 28.5"t x 24"w x 19"d.

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...

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...

The Pershing Collection is a set of very personal pieces for designer Martin Goebel as they have been designed for his personal use, unbridled by the confines of client driven concep...

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...

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

Sturdy table base ready for client designated round or square top. Four half round panels of white Lucite attached together with eight chrome cylinder fin...

Charles Hollis Jones mid century glass and Lucite base dining table This table measures: 72 wide x 42 deep, with a chair clearance of 27.5 inches (Measurements for height are p...

Eleanor Round Dining Table The Eleanor dining table is a piece of furniture that takes functionality and simplicity of design as its starting point. In addition to its feminine cur...

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

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...

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

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. ...

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...

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...

Extreme simplicity, contemporary and seductive power: these are the characteristics reflected in each detail that will make you fall in love at first glimpse. Bonsai relates to Boca ...

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...

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, ...

Eleanor Rectangular Dining Table The Eleanor dining table is a piece of furniture that takes functionality and simplicity of design as its starting point. In addition to its femin...

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...

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...

Stylish contemporary design dining table. The Farol round dining table has a cone-shaped base design, made of fiberglass coated with ...

Lucite and chrome table with original 3/4 glass top designed by Charles Hollis Jones.

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...

Kameh introduces a new material, sand, inspired by the designer’s connection to his home, the UAE. The' breaking through' collection is a continuation of the iconic kameh designs fin...

Fantastic vintage Russell Woodard dining table. A classic round shape done in the iconic spun fiberglass. Inset glass top. Acquired from a Naples estate.

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

Designer Table from the 70ies. Lucite with Stainless Steel and Nickel plated metal. According to the previous owner bought in France. The measurements ...

This listing is for the table alone. The chairs are sold separately. Post Modern clear acrylic pedestal dining table with round glass top. The clear acrylic diamond prism center sparkles like a gem! It’s this magical transparent quality that makes Lucite so desirable. The diamond prism perfectly captures the dynamic optics of Lucite. Place this table in front of a large window...

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...

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...

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...

Le Dome lucite dining table designed by Charles Hollis Jones and manufactured by Swedlow, an aviation aeronautics specialist in California. Table created the for Charles Hollis Jone...

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

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...

Splated maple dining table with mellow live edge and three 2' thick acrylic legs that come through the top and sit flush with the table top.

Stylish contemporary design dining table that seats up to 4 people comfortably. The Farol round dining table has a cone-shaped base d...

Stability in the face of the void. Inviting negative space pulls the viewer inward and through the piece, drawing the eye to its many faces of aggregate and low-profile construction....

Our Bistro tables are crated like no others available. I pride myself on the subtle details that draw ones attention invoking touch and conversations. There is something truly unique...

The dining table Calypso with 2 bases proves that the simplest and most genuine forms, often culminate in the most interesting pieces. Suitable for outdoor. Top: Resin reinforced wi...

Rectangular dining table made with an handpainted hardwood structure embellished with hand-drawn graphic details designed by the author, then protected with a clear matt scratchproof...

SoHo dining table An innovative piece of furniture that represent the natural evolution of our traditions. This table has been created with innovative technology, always keepin...

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...

Black walnut live edge dining table with acrylic legs and bronze spandrel.

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

vintage dining table table 90s Sweden period 90s design unknown Sweden condition good minor signs of use size 74 x 220 x 100 (hxbxd) details wood; chrome; plastic; item...

Side table based on MDF coated with natural wooden painted blade in matte gold. Carbon steel holder painted with automotive paint in the same color. Round top 500mm in diameter. Lam...

Contemporary outdoor dining table built with resin reinforced fiberglass. This highly resistant material is very durable and requires less ...

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...

Offering one of our recent Palm Beach Estate Fine Furniture Acquisitions of an ALDO TURA Karl Springer Style Lacquered Faux Goatskin Lucite Table Base All 3 pillars are linked/secu...

Stunning Lucite and nickel-plated dining table designed by Charles Hollis Jones as a part of his new series "Tree of Life." This new line is the first limited edition that Charles i...

Structure: Resin reinforced with fiberglass finished in white lacquer with bronze detailing on the base. Properties: The reinforced resin provide a durable, scratch-resistant surfac...

Modern dining table, the square glass top resting above two curved L-form lucite supports, in the manner of Pace. 29.5” H x 40” W x 40” D.

Mo, outdoor dining table- An essential piece for your alfresco dining. The whole design of this distinctive outdoor dining table was developed accordi...

Dining table with beautifully carved base and beveled-edge Lucite top by Paul Laszlo.

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

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...