Plastic Dining Room Tables

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...

Rectangular silicone dining table made in pure acetic acid and layers of wood fused for Dilmos Milano. Designed to increase the surface area by adapting the movable over-sized legs. ...

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...

This round dining table was made in Scandinavia during the 1970s. The table top is made of fiberglass, lacquered white. The base is a metal tulip leg. The t...

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...

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 Pensi High Top Table, originally designed by Jorge Pensi for AMAT 3 in 1988. These examples date to the 2000s and were manufactured in the USA by Knoll. The listed price in...

Verve Dining Table The Verve dining table is the embodiment of energy and the plesure of living. Designed to turn every dinner into a celebration, its fiberglass structure, marble t...

A vintage Charles Hollis Jones Designed dining table from the 1960s. The artist himself identified and authenticated this piece. Glass is newer. In good condition with some minor mar...

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...

Explorer 4 dining table by Jaime Hayon Dimensions: Diameter 130 x Height 74 cm Materials: Lacquered fiberglass body. Solid turned wooden legs and lacquered. Painted glass tabletop...

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

Midcentury Beveled round glass table top and lucite base with 6 Legs. The glass measures 60inches in diameter and .5 inches thick. The base is a six-legged lucite base with a beautif...

Eleanor Rectangular Dining Table The Eleanor rectangular dining table captivates with its fluid curves and refined silhouette. Its rectangular top makes it ideal for hosting several...

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 pair of dynamic John Mascheroni table pedestals have a complex geometric design executed in thick Lucite. The two bases can be arranged in different configurations and are capab...

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

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...

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...

Table made of plexiglas designed by Alessandro Guerriero and Studio Superego for Superego Editions. Tribute to the architect Carlo De Carli for the Redesign collection. Soli e Unici...

Erice is a round dining table merging craftsmanship and digital innovation. Its 3D-printed biodegradable plastic trunk supports a transparent glass top, showcasing the structure. Wit...

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...

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...

Sigma is a luxurious and sculptural dining table that is handmade produced in resin reinforced with fiberglass and combines bold finishes with amazing materials and textures. Its tab...

Mod 4997 table with adjustable feet by Ignazio Gardella and Anna Castelli for Kartell.

Sculptural Kaa Buffet Table – Playful Blue Concrete by Mary-Lynn & Carlo Dimensions: 200 x D 50 x H 92 cm. Materials: concrete colored, foam polystyrene Finish: water, stains repelle...

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 ...

Signed Lion in Frost dining table base made of 2" thick sculpted lucite and connected with patinated brass center bracket. Brass can be polished and lacquered upon request for no cha...

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

Large elegant mid-century dining table. With a glass top resting on two tulip shaped plexiglass legs.

Rectangular table in Brazilian rosewood veneer with high gloss polyester finish. Fixed top with base in bronzed stain- less steel. Sunburst veneer to...

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

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

It is hard to resist the impression that the designer strongly refers to surrealism, nature and the magic of design. The base of this prestigious table is inspired by the roots of la...

Francesco Bocola dining table for two people, designed in 1970 and produced in a single prototype. Francesco Bocola catalog with this table publication included. Literature: Francesc...

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...

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.

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...

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

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.

1960's Mid Century Modern Lucite and Glass Dining Table. Glass top with heavy lucite leg posts topped with chrome caps.

Lucite pedestal base dining table with octagonal glass top.

LE VOLTE CHE MI SEI MANCATO... A truly eclectic dining table from the "Parlami d'amore" Valentina Giovando's collection. A piece of art more than a dining table, it has an exclusive...

Beautiful Lucite "Skyscraper" Base for dining table or a desk. Extremely thick and heavy! In the manner of Karl Springer, Charles Hollis Jones. We can provide a glass top upon reques...

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...

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 made. Measurements: Height 29" Diameter 60". If you are coming to our show room...

Handcrafted of resin reinforced with fiberglass and lacquered in white with matte finish. The artist is inspired by branches that seem to protrude from the floor. The organic structure...

Vintage Mid Century Modern Sculptural Lucite Double Pedestal Dining Desk Table Bases (no top) - a Pair. Listing includes (2) pedestal bases with beveled edges, clean modernist lines,...

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...

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

Folding collapsible lucite base glass top mid century modern dining table. Innovative hidden/unnoticeable collapsible design feature Mid-Cent...

Mo, outdoor dining table- An essential piece for your alfresco dining. The Mo dining table is a testament to versatility, designed to bring refined si...

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...

Faux tortoiseshell dining table with hexagonal top. Chrome frame.

This is a Segmented Conference Dining Table, Model ET187, initially designed by Ray and Charles Eames for Herman Miller in 1964. These pieces date to the year 1997. These pieces feat...

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...

Large 7' Long 3/4" glass Top Thick Lucite Base Dining Conference Table

Ash Wood Epoxy Resin Table This table is made of two large ash slabs. We brought together cream epoxy with the unique structure of the ash wood slab. The epoxy resin table stands o...