1970s Dining Room Tables

Stunning one of a kind artisan handcrafted 1970s Muller's of Mexico green and ebony colour marble lined large oval tulip dining or conference table...

Beautiful dining table in chromed stainless steel with smoked glass top, it was designed in Italy during 1970s. The base of this enchanting dining table features three chromed leg...

Carrera Marble; Brutalist; Italy; Architect's Edition; 1970s; Table; Postmodernism; Carrera marble table, crafted in Italy during the iconic 1970s era. This remarkable piece show...

Vintage table Italian manufacture 1970s, in the style of Willy Rizzo. Brass, briar, glass and mirrored glass. 100 width 200 length 70 height. ...

vintage dining table table 70s pine period 70s designs unknown conditions good light signs of use size 75 x 130 x 130 (hxwxd) details pine; article number 2016.

Spectacular dining or center table in finely carved ivory lacquered gilded wood of Italian design with oval crystal top. Attributed to Pier Luigi Colli.

Pierre Chapo - T14A Table and Benches Set Model T14 A table accompanied by a pair of S 14 benches in solid elm around 1970 Dimensions of the t...

An organic, brutalist construction made of glazed oak wood with four scrolled legs, and an elliptical tabletop: these elements define this outstanding dining table. Technical ingenui...

Midcentury ash wood dining table by Mario Bellini for Cassina. The table has a striking tripod base made from solid ash wood and a smoked glass table top. Design Classic and pr...

Absolute rarity! Design Afra & Tobia Scarpa, table in red marble, produced by B & B Italia 1974. Table top in "Marble di Alpi Apuane" red, only 300 co...

This table can work as a console table or also as an elegant dining room table or desk. It’s a practical and elegant piece. What makes it so ...

The 1970s Italian travertine dining table is a must for the interior of every midcentury design enthusiast. A lovely composition of this very distinct stone shows up close that it di...

Afra & Tobia Scarpa for Maxalto, 'Artona' dining table, walnut, walnut burl, lacquered wood, brass, ebony, Italy, 1975/1979 This table was designed by Afra & Tobia Scarpa within th...

Rare large dining table by Gio Pomodoro created in a number of copies, this table is number 4. The top is in wood with the centre and legs in marble. Signed Gio Pomodoro. Wear due to...

Desk or Dining Table, With Four drawers in Black Oak painted, Made by De Coene in 1970, original and good condition.

Beautiful dining table made from travertine stone with an octogonal base and top. Nicely finished top. Can be combined with many interior styles. Good condition, normal wear...

Round travertine dining table made in Italy, 1970s. Solid travertine top and base. The top has a rounded edge and the base is made of three slabs of travertine. The table has a satin...

A solution for upper middle-class furnishing, with effect and impact. Visible quality and elegance of design. The set for three persons consists of: a table H 48 cm x diameter 119 cm...

This “T21D” dining table, also known as “Sfax” is among the very best of Chapo’s designs with a strong architectural approach. Although very sturdy on first sight, the outstanding de...

Elegant Hollywood Regency style brass faux bamboo dining table. Smoked glass top. CREATOR: Unknown PLACE OF ORIGIN: Italy DATE OF MANUFACTURE: c. 1970's PERIOD: 1970...

Born in Italy but raised and educated in Paris, France Willy Rizzo has been one of the most eclectic figures in the panorama of modern design. Well known amongst collectors and furniture enthusiasts, Rizzo was not a designer by formation...

Swedish design dining room table. this square design table is very practical and elegant, its light color makes it easy to combine with other colors in the room. Perfect for a modern...

Rare and very nice example of the "Bossche school" furniture by architect Jacques Uppelschoten, made for his own house at the Raffendonkstraat 20 in Oirschot. Dom Hans van der Laan s...

Dining table in pinewood, attributed to Ate van Apeldoorn. The top has been sand and oiled. The legs can be removed for transport. We also have four matching chairs available, not in...

Vintage dining table designed by Swedish designer Nils Jonsson in the 1970s. The dining table is round in shape with a diameter of 115cm, thanks to the two 40cm planks it reaches ...

An original 1970s T21, five legged Sfax table by Pierre Chapo. Taken from page 71, “Pierre Chapo” – Magen H Gallery: “The design of the T21 table ha...

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...

Table from the 1970s. Ivory lacquered solid wood legs, black painted iron sheet connecting element, crystal top with cut edges. It shows light wear due to age and use. This piece was...

Made in Czechoslovakia Made of Glass,Metal With aged patina Re-polished Good original condition.

Made of wood Width after layout 130 centimeter Original condition.

Danish; Adjustable; wooden; wood; table; metal; base; coffee table; dining table; table; Scandinavian modern; Scandinavia; Denmark; Danish design; Danish wooden table...

Rainer Daumiller extendable dining table in solid pine, Danish design, 1970's, Scandinavian modern; Scandinavian modern round-oval dining table designed by Rainer Daumiller in De...

Table rectangulaire de Guido Faleschini pour Mariani, Italie, 1970. Le mobilier de cette gamme désigné par Guido Faleschini était distribué par Her...

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...

The dinner table by Gianfranco Frattini from Gavina Italy 1970s. Tavolo in acciaio di Gianfranco Frattini per Gavina. La linea della base...

Space Age period dining room set designed by Boris Tabacoff and manufactured for Mobilier Modulair Moderne in 1970s circa period, France. The set consists of the round dinning table...

“Scuderia” dining table, designed by Carlo Scarpa and produced by the Italian manufacturer Bernini in 1977. Originally, Carlo Scarpa designed the table to restore the stable of Villa Valmarana in Vicenza in 1972. The table features a solid walnut structure. Available also five “Kentucky” dining...

Mid-Century Modern Sculptural Travertine dining table, Italy, 1970s.

Mid-Century Modern dining table in the style of Willy Rizzo, Ash Burl, Italy.

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...

Italian dining table, designed by Luciano Frigerio for the Frigerio - Desio company. It is part of the Norman series, made of dark Italian walnut, reminiscent of the keys of a piano...

Mid-Century Modern red travertine dining table by Angelo Mangiarotti, Italy, 1970s.

Italian chromed metal and glass dining table in the style of Gastone Rinaldi Large dining table produced in Italy in the 1970s. The top ...

An elegant and raredining table designed by Giampiero Vitelli in the 1970s.Teak frame .Extensible:130cm-180 cm.Excellent condition. Free professional packing is provided.

Mid-Century Modern dining table corinth by Ferdinando Meccani for Meccani Arredamenti, 1978.

Swedish design solid oak wood dining room extended table, 1970s. Dimensions extended table cm 185 / inches 72.83. In good vintage conditions. This table is perfect for a modern home, its opening is practical and the extension disappears inside the table. Table of good size, easy to use, the color of the honey-colored wood goes perfectly with any color of the house. We are professional sellers...

Produced by Mobilgirgi Italia in 1975 Chairs: Set of six robust Italian dining chairs with saddle-stitched leather seats, black colored. Very comfortable even for larger sitters despite the slim profile. Dimensions: 50 x 47 x 82cm, assise 45 cm. Dining table in walnut, dimensions 209 x 89 x 76 cm. Sideboard: manufactured by Mobilgirgi in Italy in the 1970s. Very rare walnut sideboard. Dimensions: 250 x 50 x 79.5 cm. Showcase furniture...

Square table by Pierre Cardin for Roche Bobois, 1970s. Black lacquered wood structure, glass top, various woods borders. It can be exten...

Dining table mod. ‘Samo’ by Studio Simon. Series ‘Ultrarazionale’. Italy, 1970. Made of granite. Literature: Giuliana Gramigna, Repertorio 1950-2000, Allemandi, Torino, 2003, p.180. Excellent vintage condition. The Samo table was designed in 1970 by the project office of Studio Simon. Carlo Scarpa was the brand's artistic director, and the Venetian architect's style inspired the shapes of this table. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. Only 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, he 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 which stands on the banks of the Grand Canal, 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, which are all worth mention. One of his key works, despite its relatively modest diminished proportions, was the first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly 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 20th century museums were to be 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 greatest ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the 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 renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider being 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 which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as 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 began work 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 20th 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 8 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...

1970s Angelo Mangiarotti white Carrara marble dining table for Skipper, Italy. Design: Angelo Mangiarotti Manufacturer: Skipper, Italy 1970s Sculptural and monumental dining t...

Mid-century dining table model "Super Ellipse" designed by Piet Hein and Bruno Mathsson.

Bruno Rey table in red formica for Dietiker, 1970s. The table has been completely restored, the base sanded and the top covered with a red Formica. Ideal ...

Magnificent sculptural round table in the shape of a palm tree made of carved wood and gold details. From Italy by Chelini Florence from the 1970s.

60s 70s teak dining table Dining Table H.W Klein for Bramin Danish Design Object: dining table Manufacturer: Bramin Condition: good Age: around 1960-1970 Dimensions: Width = 19...

Renato Zevi design for Roche Bobois France years '70 Table in chrome and tickness glass of 0.5 inches and 48 in. Diameter

Mario Ceroli is an important italian sculptor and set designer. He's most famous as one of the protagonists of the Arte Povera, an italian art group active during 60s. His work is characterized by the use of the wood in many shapes and types. Here we have a very peculiar table designed by the artist Mario Ceroli in 70s and produced by Poltronova. The model of the table is "Rosa dei Venti" (wind rose...

Vintage round dining table with a black ash wood table top divided in three parts and a solid wooden cross legged base. Beautiful timeles...

Travertine dining table Il Colonnato by Mario Bellini for Cassina, 1970s.