1970s Dining Room Tables

Maison Regain, dining room table, solid elm, France, 1970s This exquisite rectangular-shaped dining table by Maison Regain is a stunning piece of furniture showing beautiful design ...

Lovely Milo Baughman thick chunky aluminum dining table. This one piece dining table has a great mellow patina to the aluminum frame. We do have the original matching Baughman dining...

Octagonal dining table by Romeo Rega, a true gem from 1970s Italy. Crafted with precision in vintage polished brass and chrome-plated accents, this table not only showcases Rega's ic...

Milo Baughman Style midcentury Glass and Chrome Dining Room Table This dining table measures: 48 wide x 48 deep x 29.25 high, with a chair clearance of 28.75 inches All pieces ...

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...

Robert Guillerme (1913-1990) and Jacques Chambron (1914-2001) : A fine French mid-century solid oak extendable dining/writing table. Length with the two center leaves is 82 5/8".

Large oval 'Eros' dining table designed by Angelo Mangiarotti and produced by Skipper, Italy 1970's. Made out of solid Italian Carrara marble. This early production was purchased f...

Roger Vanhevel dining room table in travertine, smoked glass, brass and chrome. Work of 1970's middle of table in massive brass drawn in the acid and signed by artist Roger Vanhevel.

Atelier C. Demoyen, dining table, solid elm, France, 1970s This dining table is a remarkable example of the refined craftsmanship that defines Atelier C. Demoyen's work. Made from s...

Beautiful Mid-Century Modern teak rounded corners rectangle expandable dining table, circa 1970’s. Featuring richly grained, gleaming teak and smooth, clean lines characteristic of c...

Tomlinson Postmodern / Mid Century Olive Burl Wood & Brass Dining Table Exquisite 1970’s burl wood and brass Dining Table is exceptional quality, it feature Brass and Olive Burl ...

Offering One Of Our Recent Palm Beach Estate Fine Furniture Acquisitions Of A 1970s Lacquered Fish Pond Design dining table by Laque Martin The lacquer...

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

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

Edmond Spence Mid Century Birch Expanding Dining Table with 2 Leaves This table measures: 57.25 wide x 41.75 deep x 28.75 inches high, with a chair clearance of 28 inches, each leaf...

Incredible Portoro French marble table signed Paco Rabanne 1979 on the top base area, and designed by Jean-Claude Mahey. With its impeccable design, ...

A rarity from the 1970s, this solid elm dining table by Romanutti captures the essence of natural Italian craftsmanship. The honey-toned elm infuses warmth, with its grain dancing be...

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...

Paul McCobb for Planner Group mid century expanding dining table with 2 leaves This table measures: 42.5 wide x 41.75 deep x 29 high, with a chair clearance of 28.25 inches, each ...

Bow-tie dining table from the Sculptured Metal series made for Directional in 1970. A variation of this design is published in Paul Evans: Designer and Sculptor, Head, pg. 79. weld...

Angelo Mangiarotti "Eros" dining table for Skipper, marble, Italy, 1971. The “Eros” dining table design features no joints or clamps and is architectural in its structure. The dinin...

A beautifully crafted large scale redwood burl dining table with glass top.

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...

Modern oval marble top table in the style of Eero Saarinen Pedestal table. Beautiful Italian marble in white with rustic grey veining. Completed with...

Arthur Umanoff for Shaver Howard Mayan Mid Century Iron and Glass Round Dining Table The table measures: 42 wide x 42 deep x 29.75 high, with a ch...

This large table features a stunning rich hardwood table top, with a gorgeous colouring and strong grain its luxurious feel complements the simplicity of this pieces design. The wood...

Broyhill Brasiliamid century dining table - no leaf This table measures: 60.5 wide x 40 deep x 29.5 inches, with a chair clearance of 25.5 inches All pieces of furniture can b...

Paul McCobb for Calvin midcentury Brass and Mahogany Dining Table with Leaves This table measures: 60 wide x 38 deep x 28.75 high,...

Large dining table with two bases in gilded and chromed metal. The two bases are hinged and can be positioned in a square or diamond-shaped to support the tray. It's possible to sale...

The table was produced in Denmark in the 1970s. Table top made of walnut. The furniture is after a comprehensive carpentry renovation, cleaned of the old coating, finished with high-...

Vintage Mid Century Modern Danish Dining Table With Ceramic Tile Inlay. Circa 1970s Features quintessential Mid Century Modern Scandinavian design with a brutalist ceramic tile inlay...

Vintage mid century Mastercraft dining table with glass top. Beautiful detailed Mastercraft base with no damages. Great for any Mid Century home or of...

Crafted by the esteemed Italian furniture maker Ceccotti Collezioni, this dining table embodies the perfect blend of artisan craftsmanship and innovative design. Known for their mast...

Extendable Chestnut Fratino dining table, 1970s Extensions not available ! Packaging with bubble wrap and cardboard boxes is included. If the wo...

Italian lucite, brass and aluminum pedestal table base, ( ONLY) circa 1970s. Created by artist Romeo Rega. Base diameter measures 19".in diameter... Can hold desired glass top.. Han...

"Delta" round dining table, crafted by designer Rudi Verelst for Novalux in 1970s Belgium. Its striking white veneer top is complemented by the distinctive pyramid-shaped chrome legs...

Harvey Probber mid century round ebonized walnut, terrazzo, and brass dining table The table measures: 50 wide x 50 deep x 24.5 high, with a chair clearance of 23.25 inches Re...

Kipp Stewart for Calvin Mid Century Walnut Expanding Dining Table with 1 Leaf This table measures: 62 wide x 40 deep x 29.25 inches high, with a chair clearance of 28.25 inches, the...

Dux Mid Century Maria Swedish Elm Beech and Brass Expanding Dining Table The expanded table measures: 94.25 wide x 43.25 deep x 25.25 inches high, with a chair clearance of 24.5 inc...

Drexel New Todays living Mid Century blonde dining table This table measures: 61.5 wide x 40 deep x 29.5 high, with a chair height of 24 inches, each leaf i...

Vintage Travertine Dining Table From France, Circa 1970. Solid travertine top. Base in three interlocking sections.

Large extendable dining table in solid pine wood from 1970's. Denmark. The table has two extensions of 50 cm. so it can be used closed (160 cm) with one extension (210 cm) or with tw...

Pierre Cardin mid century burlwood and brass dining table This table measures: 72 wide x 38 deep x 29 high, with a chair clearance of 26.5 inches, each leaf measures 18 inches wid...

Gorgeous italian marble dining table consisting of 6 separate elements forming a gorgeous table top. The colour is described as white/beige with natural orange vaining. The table t...

Dining table in bronze with decorative corner elements and inset glass tops by Mastercraft, American, 1970s.

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...

This vintage dining table from American of Martinsville features burled wood in a classic Parsons design. It measures 30 inches in height, 74 inches in width, and 44 inches in depth,...

Striking rectangular glass dining or center table. Elegant design geometric black marble supports. Excellent original vintage condition. Can be used as a dining table...

Gilded brass and mirror centre table with hammered abstract pattern signed by renowned Spanish artisan Gony Nava. Design of the 1970s With a diameter of 130 cm, this table can be ...

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

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 ...

French Maison Jansen style steel and bronze table, circa 1970. New glass top.

Solid pine wood dining table, with beautiful X-base construction, produced by Ate van Apeldoorn for Houtwerk Hattem. The X-base is supported by a solid beam tilted in a 45 degree a...

Arne Vodder for sibast mid century Danish teak drop leaf expanding dining table with 2 leaves The table measures: 70 wide x 41.5 deep x 28.5 high, with a chair clearance of 24 inc...

Eero Saarinen for Knoll mid century Tulip table This dining table measures: 47.25 wide x 47.25 deep x 28.5 inches high, with a chair clearan...

Conference table, Carrara marble, walnut, iron, Italy, 1970s.  This captivating oval table from Italy serves as an ideal choice for either a conference or a dining setting. It achie...

A rare large dining table by Gio Pomodore created in a limited edition, this table is number 4. The top is in wood with the center and legs in marble. Signed Gio Pomodoro. Wear due t...

For FULL item description click on More Details below. Shipping Quote Information The shipping quote stated in the listing was from 1st Dibs and they normally set all the costs and ...

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...

Round table, from Italy, attributed to the iconic designer Romeo Rega. This table boasts a glass top with with bevel and a base featuring four arched components of brass and chromed steel.