Plastic Dining Room Tables

The Luna round table by Greyge is an elegant expression of contemporary Italian design, in which purity of form, sensuality of proportion and craftsmanship come together in a timeles...

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...

This is a Segmented Conference Dining Table, Model ET143, initially designed by Ray and Charles Eames for Herman Miller in 1964. This particular example dates back to the 1960s. This...

Rectangular table with top in inlaid Tasmanian curly Eucaliptus veneer with high gloss polyester finish. Fixed wooden inlay beveled top, base in combination of satin grey nickel sta...

Unique Tulip dining table from the 1960s. Plastic table top and an aluminum base in white. Quality Features: accomplished design: perfect proportions and visible attention to detail...

Glamorous dining table designed by Jeffrey Bigelow for Spectrum LTD, circa 1976. Scrolled cast-bronze base anchors four gently arched, faceted cast-acryli...

This is a SW_1 Conference Table, originally designed by Scott Wilson in 2010. This particular example was produced by Steelcase in the USA C. 2012. The table is comprised of an alumi...

This is a Segmented Conference Dining Table, Model ET143, initially designed by Ray and Charles Eames for Herman Miller in 1964. These pieces date to the year 2008. They feature a re...

Table bistrot Art déco par LOUIS VUITTON 1930's

Modern 1970s Vladimir Kagan Lucite and chrome dining or center table. Tempered circular glass top with frosted circle detail rests atop a splayed lucite base bolted with chrome pegs. Light. Airy. Modern. Unlike wood or other solid tables, this Vladimir Kagan table doesn't clutter or weigh down a space. The table doesn't interrupt perspective or view and allows for pass through light. Perfect choice for smaller spaces - see through lucite and glass makes rooms look bigger. Only one of its kind available. Want to see more beautiful things? Scroll down below and click "View All From Seller" or favorite our shop to get your 1stDibs on our new inventory. Photographed and also currently available at our shop: Set of 12 Vladimir Kagan for Kagan-Dreyfuss steel dining chairs in Ivory Bouclé Set of ten...

1960s Charles Eames aluminum group conference or dining table with segmented solid aluminum four star base. this sleek and elegant design by Charles and Ray Eames complements any ho...

Elegant 1940s Lucite dining table with four matching chairs by Grosfeld House. This 1940s dining set features a table framed in tubular Lucite with an inset glass top and embellishe...

Glamorous 1970’s polish chrome and lucite ‘Metric Line’ dining table by American renowned designer Charles Hollis Jones. Newly professionally polished. Measurements: 60” Diameter,...

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 rare find, this dining table exemplifies the designs by Sandro Petti for company Metalarte around 1970. A thick transparent glass surface has a striking oblong shape and rests atop...

Eero Saarinen, born in Finland in 1910, moved to the US in 1923, where he grew and graduated from Yale in 1934. He met Charles Eames, with whom he collaborated and won the 1st prize ...

This is a Segmented Conference Dining Table, Model ET143, initially designed by Ray and Charles Eames for Herman Miller in 1964. These particular examples date back to the 1990s. The...

2 - Pair of unique brutal fiberglass unicorn horse head bases, with original glass top. 2 large fiberglass horse heads with faux bronze and patina ...

Horn Collection, dining table, lacquered polyurethane plastic, Germany, 1970s Created for the Horn collection in the seventies, this well-formed table is made entirely from polyuret...

Vintage pair of Lucite glacier, iceberg style dining table or office desk base. Glass top not included. In the manner of lion in frost.

Contemporary dining table made of fiberglass-reinforced acrylic resin in a matt white lacquer or in natural fiberglass finish. Both finishes are suitable for outdoors. The reinforced...

Francesco Bocola dining table for two people, designed in 1970 and produced in a single prototype. Francesco Bocola catalog with this table publication included. Literature: Francesc...

Simple dining or desk from the profile system collection from Flötotto. A very simple and functional design. The table comes from the profile system collection, which is known from ...

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...

Ron Seff Goat Skin Lucite base versatile extra-large expandable dining/conference table, when closed 72" with two leave 20"each when fully opened 112" in exceptional condition bevel...

70's table composed of an elegant mix of metals with polished brass and steel finish. The central base is made of full honey-colored plexiglass with a diameter of 20 cm. The smoked glass top in the image is 15 mm thick and can also be modified with a more generous size top up to 150 cm, designer Romeo Rega little chipping on the side of crystal plane. Romeo Rega is born in Rome on 10 October 1925, third of six children, born and raised in the Trastevere district, in the heart of Rome. THE FIRST BIG STEPS. He is 27 years old when, in 1957, he enrolls in the Albo provinciale delle imprese artigiane (Provincial Register of Craft Enterprises) and opens his first workshop in Vicolo della Frusta 6, where he collaborates with talented masters of wrought iron and forging. At this point arrives the first important order: the design and manufacturing for Cinecittà of the chariots for the American colossal film Ben-Hur, which will be published in 1959. He stays in Vicolo della Frusta until the end of the 1960s, a period in which he dedicated himself to his favorite activity: the design of his own pieces and the relations with people. Among his clients there are personalities from the world of cinema and entertainment, such as Marcello Mastroianni, Renato Rascel and his wife Giuditta Saltarini, Massimo Ranieri...

Amazing 1980's modernist design lucite and bronze dining table with tempered glass top designed by Jeffrey Bigelow, in vintage original condition with some wear and patina due to age...

Oval dinning table by kar Dimensions: W 216 x D 96 x H 74 cm Materials: Wood, Black Ash Veneer Kar, is the root of Sanskrit Karma, meaning karmic repetition. We seek the cause and e...

This is a Segmented Conference Dining Table, Model ET149, initially designed by Ray and Charles Eames for Herman Miller in 1964. These pieces date to the 1990s. The listed price incl...

This monumental oval dining table pairs organic artistry with engineered durability. Sculpted by an artist-sculptor, the piece embodies the expressive language of hand-formed sculptu...

The CANTO Table distills structural clarity into a striking and flexible piece. Made from welded anodized aluminum angle and sheet, its form is reduced to essentials — a pure, stable...

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 ...

Stylish contemporary design dining table. The Farol round dining table has a cone-shaped base design, made of fiberglass coated with ...

Many consider Charles Hollis Jones "Le Dome" his finest work. Part of his "Signature Collection" in 1977 and crafted by Swedlow (an aviation specialist in Southern California) this r...

Dimensions: Width 48 in. (122 cm), depth 30 in. (76 cm), height 30 in. (76 cm), weight 40 lbs. (18 kg). Materials: resin, stone aggregate, fiberglass. Durable and designed to be use...

Italian Oval dining table Nodo by Carlo Bartoli for Tisettanta, 1970s Dining table mod. Nodo with oval top in black painted wood and black rubber rounded profiles. The base is made u...

Table ronde à manger vintage des années 70, style Space Age, plateau rond en verre fumé, pied en métal chromé design dans le style de Giotto Stoppino, très bon état général avec quel...

This is a Postmodern Extension Dining Room Table, designed by Peter Maly for Tonon Italy in 1990. The base of the piece features a triangular motif, and has centralized tubular steel...

This piece is a rare signed "Lion In Frost" table that lights up a room literally and figuratively. The base is a massive sculptural piece of lucite atop a chrome and brass foundati...

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...

Charlotte Perriand Square Table for Les Arcs

Designed by William Sawaya, titled "Girl's Best Friend" table for Sawaya & Moroni Italy, circa 2000. Stainless steel with yellow acrylic beads over the legs. Top is glass with a pie...

Sculptural Kaa Buffet Table – Playful Blue Concrete by Mary-Lynn & Carlo Dimensions: 200 x D 50 x H 92 cm. Materials: concrete colored, foam polystyrene Finish: water, stains repelle...

vintage dining table table 90s Sweden period 90s design unknown Sweden condition good minor signs of use size 74 x 220 x 100 (hxbxd) details wood; chrome; plastic; item...

Italian modern Glass, fabric and wood Table Artifici by Paolo Deganello for Cassina, 1985 Dining table mod. Artifici with square glass top with rounded corners. The top is made up o...

Postmodern table from Italy. The four simple tubular steel legs are painted glossy white. The feet at the bottom are set off in black and can be balanced. The special feature of thi...

A great modernist table by the furniture designer Charles Hollis Jones with lucite and chrome plated metal supports and glass top with polished edges.

This exceptional dining game table is a striking example of Italian modern design from the 1970s, created by renowned designer Giancarlo Piretti for Castelli. The molded black plasti...

Glass top dining table with Lucite banded legs.  Currently out of stock but available for custom order in different sizes and materials. Please inquire about estimated production le...

Make a bold statement with this vintage boho sculpted Lucite dining table. Featuring a beautifully crafted Lucite base with flowing, sculptural lines, this table exudes artistic eleg...

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...

A vintage Borge Johansen tulip table. This is a classic mid century modern dinette table featuring the iconic tulip base design. The base is made of met...

Side table based on MDF coated with natural wooden painted blade in matte gold. Carbon steel holder painted with automotive paint in the same color. Round top 500mm in diameter. Lam...

Stylish contemporary design dining table that seats up to 4 people comfortably. The Farol round dining table has a cone-shaped base d...

Striking and sculptural dining table designed and signed by Lion in Frost, U.S.A. 1970's. This signature "iceberg" design features a dramatic acrylic base composed of sculpted elemen...

Vintage round glass table with modern curved tripod lucite pedestal base in style of Charles Hollis Jones.

Handcrafted dining table seats six, suitable for indoor and outdoor settings. Structure made of resin reinforced with fiberglass and lacquered in matte white color. The top is made o...

Blue Caribe dining table by Sebastian Herkner Materials: Galvanized and powder-coated tubular steel. PVC strings are made from recycled plastic. Technique: Made from recycled plast...

A very large custom-made circular dining table (or commercial display centre table), in the manner of Jacques Dumond. The base is formed by Y-shaped thick lucite panels and chrome fittings, which support the big and heavy round glass top. Originally custom-made in 1990 for a prestigious fashion boutique in Brussels. Acquired from their first owners in Brussels and imported in to UK, the table spent most of its time covered...

  Introducing the Charles Hollis Jones Lucite & Brass Dining Table from the "Metric" Collection, Signed. This stunning piece of furniture is a true masterpiece, designed by the reno...