1970s Dining Room Tables

Geometric shaped Mastercraft dining table base in black lacquered wood with Bernhard Rohne acid etched brass panels. Each open square is supported by...

Mid century rosewood oval dining table Table measures: 65 wide x 39.25 deep x 28.75 inches high All pieces of furniture can be had in wh...

60s 70s walnut dining table Wilhelm Renz dining table folding table Object: dining table Manufacturer: Wilhelm Renz Condition: vintage ...

An intriguing piece of design, this large dining table deserves to be the focal point of your dining room. Symmetrical brass and chrome elements strike through a black opaline glass top, the result being an impressively sleek dining room centerpiece...

The creative and jewellery-like design of this impressive dining table by Isabelle Faure is really something special. Tangled in a web of heavy brass branches is a beautiful riviera ...

Ceramic dining table by Roger Capron, France, 1970s.

Eero Saarinen White Laminate Tulip Dining table by Knoll Switzerland, circa 1970. Saarinen began studies in sculpture at the Académie de la Grande Chaumière in Paris, France. He the...

Mount Airy Janus Mid Century Walnut Expanding Dining Table with 2 Leaves This table measures: 44 wide x 44 deep x 29.5 inches high, with a chair clearance of 26 inches, each leaf me...

Handsome Mastercraft Amboyna burl and brass parsons leg dining table. This table is in very nice vintage condition and is gorgeous in person. There is one 20" leaf increasing the ori...

Richard Young mid century round rosewood lazy susan dining table This dining table measures: 54 wide x 54 deep x 29 inches high, with chair cleara...

This item is part of the private collection of Casey Godrie and is situated in his private house. Ask him for competitive shipping quotes. His incredible Dune Villa, Amsterdam Beach, check last pictures on this listing and find more details on his family name plus eu, is for sale soon too. :-) Very nice, to strip chairs fitting, strip table...

Previously Restored

Very nice sculptural dining table made by Banci and Firenze, Italy, 1970. This table base was made of square tubular bent pipes in chrome and brass,...

Striking mid century modern round dining or conference table having cool chrome tripod base that folds and 3/4” thick newer glass top. Glass is beveled on one side.

Vintage oval dining table designed model Samo, by Carlo Scarpa and Manufactured by Simon, Italy 1970s. Light grey granite dining table with o...

1970 Green Marble Stone Dining Table, Made in Italy The pedestal base is made of many individual pieces of rectangular green marble that create the cascade effect, unlike other dini...

This dining table boasts a beautiful Italian Fior di Pesco marble top with hues of grays and rusts. The base is curved with a slatted detail. The ...

Florence Knoll Style Mid Century rosewood and brass dining table. This dining table measures: 84 wide x 42 deep x 28.5 high, with a chair clearance of 26.25 inches. All pieces ...

This magnificent table is shipped as professionally photographed and described in the listing narrative: Meticulously professionally restored and completely installation ready. An ...

Made in Italy, 1970s. It features a chrome-plated metal pedestal and a round tempered glass top. This 8- seat table is vintage, therefore it might show slight traces of use, but it ...

Wonderful dining table, salon table with elegant oak inlays and four beautifully crafted legs. A highlight in every entrance area or dining room.

Functional art is the best way to describe this incredible table by Beverly Hills design icon Phyllis Morris. Black lacquer over hand-carved wood in a deco foliate design. Inset with...

Gorgeous solid brass dining table with a large smoked glass oval top. Timeless design, with a touch of seventies. 1970s - France Good condition Height: 75cm Width: 220cm Depth: 1...

Italian midcentury dining table with a parchment top having rounded corners on an hourglass-shaped rosewood pedestal base with carved diamond detail on an oval white marble foot (att...

This Scandinavian modern round-oval dining table, designed by Rainer Daumiller in Denmark in the 1970s, is a beautiful example of functional design and craftsmanship. Made entirely f...

Extending dining table.

Milo Baughman for Thayer Coggin large chocolate laminate Parsons dining table with two 20" leaves. Laminate does show surface wear in sev...

Dining table in the manner of Paul Evans. Made of anodized aluminum base that can move separately so that you can put the table in different setups. With a glass top you can see the ...

An exceptional Mid-Century Modern burled olive wood Parsons extension dining table By John Widdicomb USA, Circa 1970s Measures: 64"W x 42"D x 29"H. Extends up to 104"W with two 20...

Mod. TL59 two tables by Afra and Tobia Scarpa Italy, circa 1975. Manufactured by Poggi. Metal alloy, transparent polished crystal. Literature: G. Gramigna, Repertorio del Design ita...

Magnificent signed Paul Evans burl and chrome Cityscape Dining table. This piece is in very nice vintage condition with only light signs of age. The table is signed with a Paul Eva...

This luxurious hexagonal dining or center table is signed by French neoclassical designer Maurice Hirsch, and was made as a bridge table in the early 1970s. Typical of the designer, ...

Kurt Ostervig Style Mid Century Teak Hidden Leaf Dining Table This table measures: 51 wide x 33.5 deep x 28.5 high, with a chair clearance of 23.5 inches, each hidden leaf measures ...

Dining table Manufactured by Simon Gavina ...

A pine centre dining table. Holland, c1970s. Circular with a strong well formed central base. Good condition, some wear commensurate with age. Location: London Galler...

This fantastic foldable metal construction with a loose smoked glass plate ( thickness 0.8 cm ) was designed by Max Sauze, circa 1970, France. It is great to use as a dining table or...

A powerful and striking piece. Hand carved and chiseled of solid diorite. This piece date to the 1970s from Italy. A simple yet stunning form by Giulio Lazzotti. Legs are indiv...

Brass framed parsons shape dining table by Mastercraft of Grand Rapids. The top of the table is an open grid into which inserts the 18 inch by 18 inch square shaped mirror panels whi...

Johannes Nørgaard for Nørgaards Møbelfabrik Mid Century Danish Rosewood Hidden Leaf Dining Table This table measures: 55 wide x 34.5 deep x 29.5 high, with a chair clearance of 27.5...

Introducing a unique and remarkable piece of furniture crafted by the renowned Italian designer Dino Cavalli, this dining or working table manufactured by Tredici & Co. in Pavia in 1...

Offering one of our recent palm beach estate fine furniture acquisitions of a Vintage Charles Hollis Jones tusk lucite & glass 4 prong dinin...

Roland Wilhelmsson for Rolands Konsthantverk AB, solid pine, Ågesta, Sweden, 1970s This dining table, created by the Swedish designer Roland Wilhelmsson, exemplifies robust and endu...

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...

Fabulous vintage pair of 1970s era sculptural Lucite dining table bases in the Hollywood Regency or Mid-Century Modern style. Lucite has a na...

Angelo Mangiarotti’s (1921 – 2012) work as an architect and industrial designer was led by a belief that carefully respecting a material’s characteristics was imperative to developin...

Fully restored Mid-Century Modern dining table base, conference table or center table in dark brown finish, styled after McGuire. Bohemian Sculptural bent Bamboo Core Framing with wa...

Mid Century Modern vintage dining table, which is a fantastic foldable chromed metal construction with a clear glass top (thickness 0.32 in = 0.8 cm). This minimalistic Desk or Dinin...

Dining Table by Angelo Mangiarotti - Italy, 1970s Wonderful Greyish/ brown color - " Mondragone " marble Designed for Eros - 1970s Extra thick top

T. H. Robsjohn-Gibbings for Widdicomb Mid Century Walnut Expanding Dining Table with 3 Leaves This table measures: 48 wide x 48 deep x 28.5 inches high, with a chair clearance of 25...

Italian Modernist dining table by Lorenzo Burchiellaro Wooden legs and shelves made of hammered and riveted metal surfaces in geometric patterns. Laterally stamped "Burchiellaro".

Italian mid century octagonal burlwood and brass pedestal dining table This table measures: 78.75 wide x 43.5 deep x 30 inches high All pieces of furniture can be had in what w...

Italian modern Dining table Paracarro by Giovanni Offredi for Saporiti Italia, 1970s Dining table mod. Paracarro with round top in smoked glass. The structure that supports the top i...

Paul Evans for Directional Cityscape style mid century patchwork burlwood table The table measures: 39 wide x 39 deep x 29.25 high, with a chair...

Monumental 1970s vintage Italian white Carrera marble dining table in Brutalist square format with single square leg, also in white Carrera...

Dining Table Designed by Angelo Mangiarotti for Skipper - Eros series. Beautiful white and grey Carrara marble on pedestal base. Polished marble. The table can fit approximately fo...

This dining table by Willy Ballez features a travertine base and a glass top, blending natural materials with modern design. The travertine base has a sculptural form, providing a s...

This extending table can be used as a Console Table or Dining Table. The extra leg in the center provides stability and durability. Beautiful floral wood inlay detailing accents the ...

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...