Continental Europe - Dining Room Tables

Chi is vital energy, the invisible flow that nurtures, sustains, and holds everything together. It is the essence of balance, the meeting point where opposites find harmony—light and...

A contemporary Belgian design, handcrafted in natural plaster with a textured, earthy character. The surface is stain-resistant, easy to maintain, and pleasantly soft to the touch, u...

Attributed to Paolo Buffa (1903-1970) Four-legged table with brass capitals and tips, ribbed wood band and Bardiglio marble top. Manufactured by Dassi Turin, ca.1950.

This dining table with extension, made of teak and designed in the 1960s, is a beautiful example of Danish mid-century modern design. The table combines elegance, functionality and d...

Modern glass round table, Pols Potten Studio Dimensions: 120 diameter x height 76 cm Materials: Powder coated stainless steel frame, tempered smok...

TI01 Walnut Dining Table by Togigi Dimensions: D 100 x W 260 x H 78 cm Materials: Walnut. Available in Thermal Spray Zinc, walnut, and beech finishes. Customization is available. Pl...

Hollywood Regency Style brass and chromed vintage dining table or center table, 1970s, Italy. A beautiful octagonal shaped vintage dining table or center table in the style of Romeo ...

This table is designed by Christian Duc. It was published by CMB in 1986. It is the Synthesis model. The base is made of metal with a sandblasted glass top. Christian Duc is a Vietna...

With its timeless appeal, this fantastic French dining table from the late 18th century is a cherished item in almost any interior style. It can be paired with both antique and moder...

Spinzi Silös dining table - Mirror Top Table - 70cm Dining Table Minimal and functional, sturdy metal structure dining table, perfect for small apartment or for a cozy corner in the...

Round Table , Modern Round Table , Collectible Design Table , Metal Table Silös is an hommage to metal, industrial buildings and abandoned spaces. Inspired by the photographic work...

Wonderful organic shaped walnut base and silvered glass top. I was not able to get a good picture of the top.

Rosewood table, Danish design, 1960s The table is currently under renovation. Dimensions: height 72 cm, diameter 116 cm long after unfolding 166 cm.

Celebrating ingenuity in design, the Aero table embodies the spirit of innovation with its captivating form. Designed by Franco Poli, this masterpiece boast...

Aperta C1 DB 280 American Walnut Rectangular Dining Table by Mokko Amsterdam Dimensions: D 90 x W 280 x H 75 cm. Materials: American walnut. Available in different material options...

Extendable teak table by Hans Wegner, manufactured by Andreas Tuck in Denmark. The total length in the extended position is 240 cm. When the two extra leaves in the center are remove...

Guillerme et Chambron exceptional large table "Gustave", Edition Votre Maison circa 1975 solid oak base. dimension : 73x246x100 cm + 2 extensions of 54 cm each Dimensions with 2 exte...

Guillerme Et Chambron Rare Gustave Table. Edition Votre Maison Circa 1970 Large model with 6 legs top made of blue stone slabs (Soignies stone) Votre maison : a style, a concept,...

Very rare and exceptional Art Deco parchment table, with top and base in parchment veneer, the table top is supported by three wooden columns ...

Trestle table dining table made during the 18th century in Sweden. Repainted in a distressed dark brown finish. Seats 6 comfortably with 2 extra seats on the short ends.

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...

vintage coffee table dining table adjustable 1960s Swedish coffee table that is adjustable to a dining table. period 1960s design unknown Sweden condition good minor signs...

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...

Rare dining table designed by Torbjørn Afdal. Produced by Bruksbo in Norway. Width: 210 ( 310 ) cm.

The Isola Dining Table by Paloma Editions is handmade in Italy. Sculpted from solid Italian natural stone. Our workshop on site the quarries near Rome and Carrara draw on generations...

The T/5140-180 dining table is part of the new Classic collection by Zanaboni: veneered in citronnier and ebony woods, the direction of the veneer is ...

Dining Room Table in Travertine with Glass Top, Italy, 1970s

Large dining table in burnt solid wood created and made entirely by the art cabinetmaker Vincent. Conceived in an absolute concern of quality, comfort and robustness, each table is ...

Scroll down and click "view all from Seller" to see more than 500 other unique products. Table with firm design, made combining old and modern woodcraft. The classical side is in ...

A dining table of generous proportions with a distinctly thick top and angled legs, its sleek design enhanced and enriched by the curve of its contrasting lacquered beam. Designed in Elm wood with a dark-red gloss-lacquered beam, the WA table...

Amazing hand crafted round dining table in polished grey/brown/beige travertine. The base is cylindrical shaped and also made of one piece of the same travertine. The top is polished...

This statement midcentury round table boasts a sleek, cylindrical, chrome-plated base that exudes a strong sense of modernity and sophistication. The flat surfaces of the table are d...

This “Svensk Fur” or ‘Swedish Pine’ dining table is a nod to modernist design with traditional Swedish craftsmanship. The design relays an insight about the society and culture in which it was produced: closeness to nature, the appreciation of a clutter-free environment and the value of quality handiwork. The Malmvall pieces that appeal to most are the models designed for Karl Andersson & Söner, for the sheer fact that they seem completely contemporary and undated. The pieces of the line, such as this table, are often compared to the designs of Axel Einar Hjorth, even though Malmvall’s designs are exceptional on their own merit. Self-taught, Göran Malmvall was a highly skilled cabinetmaker with considerable technical expertise and was renowned for the boldness of his innovations. This table holds a natural expression with its airy and organic design, which is dominated by the natural beauty of the material and the creative use of the tenon and mortise joinery. The rectangular tabletop showcases the solid pine’s pattern, reinforcing the rustic feel. The legs have carved out vertical lines, a smart detail that elongates them optically. Göran Malmvall, the youngest son of Karl Andersson, was a highly skilled cabinetmaker with considerable technical expertise and was renowned for the boldness of his innovations. His expertise can be traced not only in this detail, but also in the legs’ joinery technique. Swedish modern – despite its name – in many ways transcends the word ‘modern’, and so does Malmvall. Like the style, the Svensk Fur pieces can be incorporated successfully into contemporary and traditional interiors alike, lending themselves to a timeless and universal appeal. Condition: In good vintage condition. Wear consistent with age and use. Some minor scratches and marks on the wood. Dimensions: 51.18 in W x 31.1 in D x 28.34 in H 130 cm W x 79 cm D x 72 cm H About the Designer: Göran Malmvall (1917–2001) was the youngest son of the manufacturing company’s founder, Karl Andersson. He studied furniture design under Carl Malmsten and was involved with the family business from an early age until 1982, mainly in the capacity of an in-house furniture designer. Self-taught, he was a highly skilled cabinet-maker with considerable technical expertise, and was renowned for the boldness of his innovations. His most notable designs include Svensk Fur, Svitjod and, not least, the KA 72 cabinet...

Rectangular Dining Table by dAM Atelier Dimensions: D 200 x W 100 x H 74 cm Materials: Travertine Stone. dAM atelier is a duo of young Italian architects sharing the passion for de...

A new interpretation on brutal design. This round table has been made to last forever. It will stand for 100 years and more. This round table in 100% solid French oak has 3 central...

Bara is a sophisticated and unique dinner table that perfectly couples a complex tubular lacquered metal base with a simple but beautiful Estremoz marble top, inspired by the lines o...

Vintage travertine dining table with two brass and travertine bases. The combination of brass and travertine makes the table stand out and brings a touch fo 70's-80's lxuruy glam in...

An outdoor rectangular dining table featuring two lacquered bases and a marble top. The table combines sleek modern design with elegant materials, offering a durable and stylish solu...

Dining table Pangolin model signed by Yves Pagart made of folded and welded painted metal. Unique style. Limited edition signed and numbered 6/16 from 1996...

Tribeca Dining Table by Giacomo Tomazzi Studio Dimensions: W 270 x D 110 x H 75 cm Materials: Wood. ABOUT Giácomo Tomazzi graduated in archite...

Circule dinner table is a practical and fun round table made of plywood, decape or lacquered mdf top and a lacquered mdf bottom, possible to customize in many colors. The middle part...

Zoumey Large Base Table by Arno Declercq Dimensions: W 300 x L 110 x H 75 cm Materials: A forest of table legs made out of 25 solid pieces of Iroko Wood. Table top made out of Afric...

Stunning brass dining table with bamboo-effect structure and clear glass top, crafted in Italy during the 1970s. The sculptural brass base is intricately worked to resemble bamboo, a...

Art Deco table in oak in the style of Charles Dudouyt, circa 1940. Dimension with 2 extensions: 75 x 320 x 90 cm.

Large dining table with rectangular smoked glass top on steel frame.

A 18th century bleached solid oak Spanish dining table with scrolled wrought iron stretcher, with decorative carved turned legs t. In excellent clea...

Rare dining table designed by Elias Svedberg. Produced by Nordiska Kompaniet (NK) in Sweden.

Moriah Table by Studio Romell Dimensions: W 300 x D 120 x H 75 cm Materials: Tinted Hemlock Wood. The Moriah table is a dining table that balances purpose and artistry, embodying ...

AT 303 - 'Cross-legged' dining table with teak top and solid oak frame. Designed by Hans J. Wegner, made by Andreas Tuck.

The table top has some minor damage and slight scratches in the veneer, shown as an example in the pictures. We have used it without any problems, but recommend refurbishing the tabl...

Dining Table, Dining Table Art Modern w.240 cm d.110 cm h.75 cm Smoked Eucalyptus Wood Veneer Production Time: 6 Weeks

Danish modernist customizabel handcrafted circular dining table in oak. The model NH11 handcrafted modernist dining table designed by Nikolaj Hansen features a circular oak table...

Fixed oval top. The base can be covered in eco-leather, eco-nabuk, real leather or real nabuk. The top is enriched by sunburst inlays in essence of Canaletto Walnut wood. This piece ...

Sundial Table - Vicenza stone, iron, (Removable) bronze gnome Bronze, iron and stone, cast, engraved and forged to re-invent the "device-table” for a symbolic garden that concentrates in the microcosm of an object of pure wonder...

An extraordinary original 1970s table designed by Guido Faleschini for Mariani, part of the renowned "Tucroma" series. The table features four triangular chrome-plated steel legs wit...

Scroll down and click "view all from Seller" to see more than 500 other unique products. (2) Century, dining table in glass or ceramic top. The top can be rectangle or tonneau shape...

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...

Presenting a striking dining table from the Barium series, designed by the renowned Luciano Frigerio and crafted by Frigerio di Desio in Italy, circa 1970. This exceptional piece exe...

🖤 A Sculptural Statement in Stone and Wood by dAM Atelier This striking piece from DAM Atelier is more than furniture—it’s an architectural composition rendered in stone. With a bo...

Enjoy being in touch with nature in the comfort of your own home, turning evey outdoor area in a space to gaze at with fresh eyes. Available in a variety of sizes. Please enquire wi...