1970s Dining Room Tables

Vintage Hollywood Regency Style Geometrical Design Brass X Frame Dining Table by Belgochrom. Made in Belgium, 1970's. In the style of Charles Hollis. Two tone brass X frame with beve...

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...

This striking table combines raw industrial materials with clean, minimalist design. The top is crafted from durable wood, while metal connectors give the surface a segmented appeara...

Bronze table base designed in 1974 by Victor Roman. Signed, numbered 3/8 and stamp of the foundry.

Dining table, “Il Colonnato”, designed by Mario Bellini and manufactured by Cassina in Italy around 1970. This impressive piece is fully made of high quality red travertine marble, ...

Mid century walnut dining table Table measures: 42 wide x 64 deep x 30.5 inches high, with a chair clearance of 26 inches All...

1970’s studio ‘Lattice’ dining table by American renowned designer Charles Hollis Jones. Charles only made one that is this size. This is a one of...

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...

60s 70s teak dining table Danish Modern Design Denmark 60s 70s Object: dining table / dining table Manufacturer: Condition: good - vintage Age: a...

Massive round dining table seating four comfortably. Pastel salmon-colored marble base and chrome-plated steel supports. Transparent tempered glass top. Attributed to Giotto Stoppino...

84" Birdseye maple Knoll reff conference table Beautiful maple top with Knoll Reff polished chrome base. Media cable access.  

Rectangular Pace collection dining table with very thick chrome-plated steel legs buttressing a central square burled olive wood block. Burled olive wood top with maple border.

Elegant Italian travertine marble dining table from the 1970s. The table is in very good condition with a few small damages to the edge of the table (see images). Both the tabletop...

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...

Magnificent Italian table from the 1970s. It has a superb structure in very light mauve colored plexiglass. This plexiglass has not suffered any damage, however it has some scratches...

A large scale sculpted and torch cut brass 'Cathedral' dining table by Silas Seandel. Sold with copy of the original purchase order from 1978. Base measures 54 x 24 x 29

Attributed to Rainer Daumiller dining table, pine, Denmark, 1970s A stunning dining table executed in a solid pine with beautiful color and visible grain. The table top has two roun...

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

White and black formica table by Superstudio. Wear due to time and age of the table. For shipping, request us for receive the best price.

Looking for a unique and versatile piece of furniture that will elevate your décor? Look no further than this wonderful vintage stainless-steel pedestal dining table! With its high-q...

Gastolane Rinaldi Dining Table With Smoked Glass Italy 1970s

A large Lucite Dinkng table base by Gary Gutterman.

Gary Gutterman Stainless Steel and Glass Dining Table, Axius Designs, 1970 Glass is 60" diameter. You can also put any size on it you would like.

A square dining or game table by Don Shoemaker for Senal, Mexico, circa 1970. Solid Mexican rosewood Cocobolo frame with carved organic forms and join...

Century Furniture Mid Century Burlwood and Glass Expanding Dining Table with 2 Leaves This table measures: 60 wide x 40 deep x 29.25 inches high, with a chair clearance of 26.5 inch...

This table is comprised of TWO Pierre Cardin cage style bases in nickel and brass interlocking flat bars (can be used as square shown here or in dia...

Midcentury burlwood dining table designed by William Doezema and manufactured by Mastercraft in the United States circa 1970s. This beautiful dining table features a burlwood frame w...

Rare eight-sided dining table manufactured by Mastercraft, finest of quality, constructed of burl elm, fabulous figuring, polished brass base and inlay, bevel glass inserts. Very lim...

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...

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...

Stunning stacked Lucite dining table or desk. The many cuts and facets on the edges make the base sparkle and shine! The Lucite is in excellent condition! This piece is gorgeous in p...

Vintage Folding Dining Table . Possibly Teak. Danish Modern Style. The Legs Interlock Under the Table for Stability. Vintage Condition Con...

Stunning extension dining table designed by Paul Evans for his Cityscape series and manufactured by Directional. Patchwork burl top and chrome base. Without leaves it is a 47 inch ...

Vintage Postmodern Hexagon Travertine Pedestal Base Glass-Top Center/ Diner Table. Circa 1970s Features a hexagon travertine base with beautiful stone veins pattern and a removable r...

An exceptional Mid-Century Modern Parsons extension dining table in gorgeous book-matched burled olive wood In the manner of Milo Baughman By Lane Furniture USA, Circa 1970s Meas...

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.

The Vintage Italian Nutwood and Glass Dining Table, known as La Rotonda and designed by Mario Bellini for Cassina in the 1970s, is a stunning representation of mid-century modern des...

Carlo Scarpa "Samo" oval table for Simon Gavina, granite, Italy, 1971. The Scarpa's way of thinking the architecture is particularly visible in this piece. The “Samo” dining table designed in 1971 for 'Ultrarazionale' collection by Simon Gavina consists of two grooved solid granite pillars...

Beautifull Italian dining or center table circa 1970 in lacquered wood Top with compass rose in gold and black decoration

Paul Evans Signed mid century chrome Cityscape dining table This table measures: 48 wide x 48 deep x 26 inches high, with a chair clearance of 24 ...

The Fritz Hansen B613 Table is an iconic piece of design furniture that strikes the perfect balance between aesthetics, functionality and craftsmanship. Designed by Arne Jacobsen in ...

This is a one of a kind vintage Lucite base. This base can be used as a dining table, centre, entrance or game table. This can take a pretty large piece of glass or smaller if you li...

This is a handsome Extension Dining Table dating to the 1970s, attributed to Ib Kofod Larsen of Denmark. The piece is crafted of solid and veneered teak and is accompanied by two rem...

Harvey probber mid century saber leg bleached mahogany extension dining table with 1 leaf. This table measures: 48.25 wide x 48.25 deep x 29 high, with a chair clearance of 25 inc...

Italian round smoked glass and chromed steel dining table, 1970s Elegant and modern round dining table with smoked glass top and massive chromed ste...

Impressive square glass dining table with cast bronze legs designed by Peter Ghyczy. The thick glass top is supported in the corners by th...

A unique opportunity to purchase an original RoR International dining table. Designed by Ringo Starr and Robin Cruikshank. Two polished chrome nick...

Jack Cartwright for Founders Mid Century Walnut Expanding Dining Table with 2 Leaves This table measures: 43.75 wide x 43.75 deep x 29.25 inches high, with a chair clearance of 27 i...

Unique Large Tile Top Dining Table Artist Unknown: One Tile is Signed (unable to deciphered signature) (signature appears to say 1974 ) "table / tile is in the style of Roger Capr...

Racetrack dining table with top in lacquered goatskin with 2 half-moon brass bases by Karl Springer, American 1970's. The goatskin finish is both luxurious and stunning. The custom b...

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...

Ferdinando Meccani for Meccani Arredamenti, 'Libro' dining table, walnut, brass, Italy, 1970 Multidisciplinary artist Ferdinando Meccani (1937-2018) designed this versatile folding...

Italian dining table in ash wood. Central brass base. 70's Good condition Dimension : W 212 cm x D 92 cm x H78 cm

This mid-century modern dining table, designed by Forma in the 1970s in Brazil, is available today. Painted in black iron, with chromed metal accents and a 10 mm glass top, it is not...

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...

Concrete and metal center or dining table designed by Giovanni Offredi for Saporiti Italy model 'Paracarro'. The table comes with its original squared with rounded edges table...

Dunbar Mid Century Expanding Hidden Leaf Walnut Dining Table with 2 Leaves This table measures: 64 wide x 42 deep x 28 high, with a chair clearance of 25 inches, each/the leaf measu...

Vico Magistretti for Artemide dining table A Mid-Century Modern dining table designed by Vico Magistretti and made by Artemide Milano. R...