1970s Tables

Elegant cutlery designed by Raymond Loewy for Air France's Concorde flights. Stamped Air France. Dimensions: Length: 16 cm Width: 3 cm

Century Furniture mid-century burlwood side table The side table measures: 19 wide x 19 deep x 29.5 inches high All pieces of furniture can ...

In this listing you will find a gorgeous and very rare Coffee or Sofa Waterfall Table that was handmade of a single piece of solid glass. The green/gray bubble glass features beautif...

Spectacular vintage acrylic and brass coffee table designed by Charles Hollis Jones. Originally from the 1970’s. This beautiful coffee ta...

Vintage Wood Table with Interesting Hardware Possible Circa 1970s - 1980s Dimensions. 15 W ; 29 H ; 12 D.

This fabulous pair of vintage modern end tables feature a lower slatted tier for added storage. Sleek design was made in Denmark by Mobelfabrik Toften...

Antique style table stand. Dimensions: 29 W; 16 D; 30 H.

Norman model table, designer Luciano Frigerio, production Frigerio di Desio year 1972 ca.

Vintage John Widdicomb Mid Century Modern Mid Century Modern Nesting Table Dimensions. 25 W ; 19 D ; 22 1/2 H

Possibly Used as a Cigar Box.Pyrography Featured o the Top of Box and Inside. Wood Carving on Sides. Unsigned Wear as Pictured. Dimensions. 7 1/2 W ; 7 1/2 D ; 1 H

Very large scale, these heavy and well constructed vintage consoles with smoked mirror top and forward facing panels. Tubular design in chrome and brass with some patina small rust s...

A 20th century Italian dining table made from metal with a glass top. This trestle table is constructed of thick, bent metal bars an...

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...

Important and rare “Persephone Enslaved” cast sculpture in patinated bronze with green patina and hand-painted enamels in green and blue with welded chain elements on a patinated bro...

Ward Bennett's expert use of line and proportion are evident in this beautiful coffee table with a three legged aluminum base supporting a rich rosewood top.

Set of three Nesting Coffee Tables in wood and brass details made by Tommaso Barbi. Decorated with a "grissinato" effect in shades of ivory...

This gorgeous vintage modern dining table features a brushed metal top and a Lucite base. This one of a kind piece has two separate Lucite pieces supporting the table top. A sleek de...

Mid-century italian coffee tables in smoked glass and chromed metal, set of 3 This elegant set of three chromed steel coffee tables is a perfect blend of refined design and practical...

Beautiful coffee table in chromed steel with smoked round glass top. This fantastic item was produced in Italy during the 1960s. This atomic-style Italian coffee table features a ...

Small glass and brass magazine rack table, 1970s, Italian manufacture.

Vintage square end table in the style of Milo Baughman, rosewood top with chrome slim legs. Fully restored.

This handsome 1970s smoked lucite end or side table by Les Prismatiques has style and character to spare. We acquired this example from the estate of an art collector who used it to ...

Stunning Coffee table in geometric style having a brass base and a glass top. The piece has beautiful architectural lines and a glass top. Measurements: 39.25 inches wide x 39.25 in...

Mid-Century Modern coffee table with Lucite base and glass top. Beautiful Lucite base with very stylish legs. With beveled glass in an oval shape.

Elegant French Mid-Century Modern double tier coffee table in solid brass and polished nickel with two smoked glass tops designed by Willy Riz...

Urban Wabi Side Table - Travertine Night Stand - Natural Stone Bedside Table One square side table in travertine, the beautiful and richly textured na...

Georges Mathias Belgian Mid-Century Modern Dining, Card or Center Table, Lacquer, Signed Mid-century coffee table by Belgian artist and designer, Georges Mathias (inscribed center)...

This coffee table designed by Willy Ballez, is crafted in his own atelier in Belgium in 1979. It stands as a truly remarkable piece that embodies the inspiration of Constructivist de...

Italian midcentury nodern design dining table “Davide “ model designed by Studio Simon and produced by Simon Gavina with partially foldable chrome-plated steel frame and clear glass ...

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...

Tavolo in legno impiallacciato noce. Discrete condizioni.

Mid-Century Modern dining table. Legs of the mahogany table are capped and accented with brushed brass feet. The tables full width with extensions is 90.5 inches.

Vintage Side Tables from the 1970s These elegant side tables feature chromed metal frames paired with a sleek glass top, exuding timeless style. The listed price is for both tables,...

Desk by Roberto Gabetti, Aimaro Isola and Guido Drocco, Italy, 1970s. Manufactured by Arbo. Limited series. Chromed metal, wood. Reference: F. Ferrari, Gabetti e Isola...

Shagreen desk by Karl Springer. Signed.

A pair of brass marble top gueridons having scrolling down swept legs raised on tri-corner plinths with stylized feet.           

Maison Regain coffee table, elm, France, 1970s Wonderful hand carved coffee table by Maison Regain. While the top convinces with its natural and dynamic appearance due to the organ...

This stunning flat bar chrome coffee table boasts a thick dodecagonal glass top with beveled edges. An elegant arched base design that off...

Fantastic DIA chrome finish glass side cigarette table. Top glass measures 16" x 8". This is one of our favourite small side table-very classy! We also have the same table in a gun m...

Coffee Table with Symmetrical Wood Grain. Lower Shelf is Wicker, wrapped around Sides.Tapered Legs. Vintage Condition Consistent with age. Wear and Tear as pictured Dimensions. 61 W...

Italian living room set Hollywood Regency, 1970 Do you want to give your living room a different look to receive your visit in style? Then that is possible with the stylish liv...

Paul Mayen for Habitat Industrial Round Brass Table with Pink Marble Top. Perfect side table or end table. Loose Marble top has been married to it . Not original.

Mid-century modern design often incorporated geometric shapes, and a square coffee table is a good example of this. The square shape gives the table a symmetrical and balanced look. ...

Accent Table with Unique Wood Carvings. Metal Inserts on each Side. Vintage Condition Consistent with Age as Pictured. Dimensions. 14 W ; 14 D ; 18 H

Cavalletto desk designed in 1970 by Japanese architect Kazuhide Takahama for MYC-Gavina. Rare model with three drawers in stained oak wood and champagn...

Mid-Century Modern Italian gilt metal bar cart or étagère on wheels with smoked glass shelves.

Mid-Century Modern Italian round cherry wood table with smoked glass top and 3 wooden chairs in the style of Ceccotti. 1970s The table has an ...

This End Table has beautiful sculpted wood Accents and walnut tone. Single dovetailed drawer with makers mark inside. Brass toned Hardware. Vintage Condition Consistent with Age as P...

Midcentury Modern Solid Walnut Desk from the 1970s, MIM Rome Italy This Mid-Century Modern solid wood desk, produced by the renowned Italian company MIM Rome in the 1970s, is a stun...

Mid-century modern steel glass coffee table by Lorenzo Burchiellaro, Italy 1970s Introduce a touch of 70s sophistication to your living space with this mid-century modern coffee tabl...

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...

Lovely pair of Florence Knoll chrome and marble side tables. The larger has an awesome green shiny marble with tons of white veining-19" T...

Richard Young for Merrow Associates. A chrome dining table with the original smoked glass circular top and a set of eight rare 160Z Merrow chairs which are arguably the best-lookin...

Coffee table designed by Preben Fabricius and Jørgen Kastholm in 1973 and produced by the Alfred Kill International factory in Germany, circa 1970s. Model- FK90...

Sculptural solid coffee table by Cassina , from the 1970s, in precious teak wood beveled with central smoked glass top with rounded corners of beautiful architectural immmage Histo...

A marble coffee table from 1970s Italy. The solid block of the silhouette is articulated by the clean edges of the marble slabs. The cool color and nebulous veining of the polished s...

Incredibly elegant and rare cage table in brass and chrome designed by Romeo Rega and produced in Italy during the 1970s. In amazing condition, the charming sculptural base features...

The console has decorative swan head supporters and glass top.