Late 20th Century Dining Room Tables

This table can be crafted to any size; the size showing is eight feet long. Made of solid walnut wood, showing knots and matched grain, alternate woods available. On request, price ...

1980s Spanish Bamboo Table Structure

Founders mid century rosewood expanding dining table with 2 leaves The table measures: 41 wide x 41 deep x 28 inches high; each leaf is 20 inches wide, making a maximum table widt...

Dining table with 4 matching wrought iron chairs. Ivory color. Can be suitable for the interior of a room or the exterior. French work from the 80s of good quality.

60s 70s oak dining table Danish Grete Jalk for Glostrup Design Object: dining table / dining table Manufacturer: Glostrup Condition: good...

1980 Faux Goatskins Yellow Dining Table in the Style of Karl Springer

This Alpine dining table embodies the rugged charm and craftsmanship of traditional design from the Alps. The table’s robust construction from solid wood and refined detailing evoke ...

Alfred Hendrickx Dining room table in rosewood and rosewood veneer, circa 1970. Belform Edition Dimensions with one leaf: 75 x 210 x 90 cm.

Mid Century Modern Milo Baughman Style Rectangular White Laminate Parsons Dining Table with Bar Table on Casters - 2 Peace Set The Mid Century Modern Milo Baughman Style Rectangula...

A spectacular vintage Regency dining table. Chic hand placed tessellated bone tile on a infinity edge top. Stacked column pedestal. Two ad...

This is a substantial "Medina" Mixed Wood Extendable Dining Table, designed by Leon Rosen for The Pace Collection ca. 1989. It was produced in Italy around the same time. The piece h...

Late 20th Century extending mahogany dining table in George III style with reeded edge to top. Supported on three reeded tripod pillars. Circa 1970.

Jean CHARLES for Maison CHARLES. Large round table entirely covered with resin, on a wooden core, decorated with inclusions. The central foot, in faceted cylinder, rests on a tiered ...

This Billy Baldwin dining table with a 3/4" thick glass top and pickled oak wood frame is a stunning and sophisticated addition to any dining room. The table's sleek design and high-...

Prospettica Dining Table by Paolo Portoghesi

Dining table by designer Olivier Gagnière pour Artelano (signature on the feet, see picture) Mogador model 4 feet and a rectangular top, in black stained beech Can accommodate 8 pers...

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...

This is a Long Conference Table, designed by John Widdicomb and produced and distributed by Steelcase. The top is walnut and legs are chromed steel. Some refer to the form of the top...

Discover the sophistication of this Postmodern Tessellated Stone, Brass, and Pencil Reed Dining Table. Featuring a luxurious tessellated stone top with a brass inlaid border and a sc...

Attributed to FIAM of Italy. Three pieces attached by steel discs, bent glass legs and a solid structure. This is a wonderfully chic desk or dining table for...

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...

This table was created through collaboration with Francois Morellet, the eclectic French artist (painter, sculptor and light artist). Born in 1926, he was an exponent of minimalist a...

The Bruce Burdick Table is a masterful creation that combines functionality, flexibility, and modern aesthetics. Designed by Bruce Burdick for Herman Miller, this table is a testamen...

Exciting artisan dining table with hand-welded steel and bronze base with thick floating glass top by Silas Seandel, American 1970s (signed “Sil...

This is a large Shaker-style dining table, designed by Borge Mogensen for Haarby C.M. Madsen in Denmark in 1958. This example dates to the 1970s. We also have the coordinating chairs...

Modern Lucite and glass dining / kitchen table, center table, American Designer, 2000s This strong and sturdy dining table is sleek and stylish having a thick Lucite base with curved legs leading to a bow top supporting a thick glass table...

Vintage dining table with a round clear glass top and a black rattan base. (glass is customizable - contact us for a quote) Produced by Vivai Del Sud in France Good condition ...

Round Italian Pietre Dure inlay marble tabletop with lapis lazuli border and flower bouquet using colorful and semiprecious stones.  

This rare Arthur Court dining table, crafted in 1982, is a stunning example of the designer’s signature blend of artistry and functionality. Made entirely of aluminum, the table feat...

Custom made in California 7' to 11' English Extendable Table with 2 Retractable Leaves English style extendable dining table. Walnut table is veneered in parquet pattern and support...

Gorgeous Italian dining table with Rosé / Pink marble top with elegant tapered edge. The base is made of a heavy tripod solid brass foot and black lacquered metal. It has adjustable ...

Beautiful and unique monumental dining or conference table by Parisian husband & wife / makers, Ria and Yiouri Augousti. Known for their bold and daring use of exotic materials they ...

Echoing the spirit of Joe Colombo’s iconic play table, this Italian Modern game table was designed in the 1970s. Resting on four cylindrical chromed steel legs, its square top has a ...

Pacific iron works mid century dining table in the style of Milo Baughman. Table measures: 50 wide x 30 deep x 31.25 inches high All pieces of furn...

Romanesque Elegance: The Vintage Italian Octagon Stone Dining Table merges Old World grandeur with American sensibility. Crafted from exquisite stone, it becomes a centerpiece that s...

Make a grand statement with this Vintage Regency Patinated Cast Steel Griffin Dining Table. Featuring majestic cast steel griffin bases with a ric...

Tavolo esagonale in vetro di Sandro Petti, per Angolometallarte, 1970s Informazioni aggiuntive sull'oggetto condizioni: Molto buone, lieve opacità su un ango...

This is an amazing and rare rosewood bi-folding dining table designed and made in Denmark, c1975.

Hexagonal table in back laminate and brass details from the 1970s. Design Jean Claude Mahey

Large Italian dining table in the style of Willy Rizzo. Square structure in burl wood and brass with a glass in the middle.

Vintage Dining Table with Original Finishes and Bevelled Edges. Mid Century Modern Lines Throughout. Insert has a “ Made in Germany “ as Pictured. Dimensions. 55 W ; 33 1/2 D ; 30 H...

Boris Tabacoff dining table, Mobilier Modulaire Moderne, France, 1960s. Chromed steel, arabescata marble, Space Age, Postmodern design, s...

Table base or console table in wood covered with steel and chrome. Brazilian work by J.D Moveis e Decoraçoes LTD, dated 1981 (Editor's label under the base) missing the glass top.

Mid-Century Modern Italian bamboo and cane round table with glass top, 1970s.

Chromed dining table by Leon Rosen for Pace Collection, comprised of intersecting x-forms. The base is solid chromed steel and is very well constructed and heavy. The octagon glass...

Spanish, 1980s bamboo glass dining table with smoked glass tabletop. Thick and strong bamboo stalks give ample support for a dark smoked glass tabletop.

Dining table, brass, chromed steel, smoked glass, Italy, 1970s This dining table features a geometric, clear-lined frame top in smoked glass and is surrounded by a brass border and ...

Mid-Century Modern White Marble Dining Table by Angelo Mangiarotti, Italy

Round travertine top and chrome base pedestal dining table, France Circa 1970's.

This is an incredible Nicos Zographos Alpha Dining Table in Stainless Steel with a round honed grey marble top. The design is unmistakably Zographos; having a 4-point radial “alpha...

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...

Merton Gershun for American of Martinsville style mid century blonde dining table The table measures: 56 wide x 34 deep x 29.5 high, with a chair clearance of 25 inches All pie...

Rare 1960's Bronze Dining / center table by Michel Mangematin. The 140cm diameter Bronzed spider form table base has a beautiful patina and is shown with a 150cm diameter glass top w...

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 handle all the shipping details. However, if you let us know what 1st Dibs is quoting you and give us your zip code, we can sometimes ship it for less and get it to you faster. For a shipping quote, click on "ASK THE SELLER" under the purchase button and provide your zip code. Offering one of our recent Palm Beach Estate fine furniture acquisitions of a Merle James Edelman for Casa Bique Tessellated Dining...

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...

Custom made two tone dining table. Birds eye maple veneer. Knife edge bevel with satin nickel edge detail. Table is 54" wide when closed, 76" wi...

Dining pedestal table composed of a 4-legged central base made of oak and a cream marble top, Italy, 1950s. Every item LA Studio offers is checked by our team of 10 craftsmen in our...

Tavolo anni '70 nello stile di Willy Rizzo in radica con inserti in ottone e piano in vetro fumè. Buone condizioni e usura compatibile con l'età. Il tavolo presenta una piccola scheg...

Jean Claude Dresse Dining table in resin Belgique 1970 250 cm x 102 cm

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