Italy - Dining Room Tables

Imperium is a table-sculpture that embodies strength, balance and timeless elegance. Made entirely of Calacatta Gold marble, selected for its golden and pearl-gray veining on an ivor...

Table completely made of solid wood with table top made of glued lists and beveled edges, characterized by an asymmetrical leg with base positioned laterally. Designed by Karim Ra...

Tavolo, design Osvaldo BORSANI. Piano in marmo, base in legno impiallacciato. ORIGINE Italia PERIODO Anni 50 DESIGNER Osvaldo BORSANI MATERIALI Piano in marmo, legno impiallaccia...

A sophisticated and essential table featuring an extremely simple and linear design. The Praia table is entirely made of veneered multi-layered Canaletto walnut, its height is 75 cm ...

This magnificent coffee table is the perfect example of the mesmerizing and unique features of nature, embodied in the singular shades defining its Palissandro marble top. Rectangula...

Set of two hexagonal low tables. One in mahogany and one with green parchment finish. Part of the Imperfetto Collection, they take up the modern design of the table from the same ...

A Regency mahogany breakfast-table with rounded rectangular crossbanded tilt-top above a ring turned spreading column and a quadripartite base, brass caps. Measures: cm.180 x 125 x...

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 superb and extremely modern table is a functional piece of design that can extend to a maximum total measure of 178 x 120 x H 75 cm. It features a top and extensions made of Fen...

Osvaldo Borsani, Tecno T41 round rosewood table, dining or coffee table, Italy, 1958 It is one of the most elegant and refined tables of 1950s Italian desig...

The monolithic and sculptural line of this stunning table is easily adaptable to outdoor spaces thanks to its elegant and resistant materials. Raised on a flat platform of galvanized...

Made in Italy, 1950s. This table is made in ebonized beech and features a taupe back-painted glass top. It is a vintage item, therefore it might show slight traces of use, but it ca...

Dining table featuring a circular marble top with a distinctive veined pattern, supported by a lacquered base composed of sturdy, broad legs. Designed for medium-sized dining spaces,...

Designed as a balanced synthesis between clean modern lines and the instinctive luxury immediately conveyed by prized Dark Emperador marble, this round ...

Designed by IC, the dining table is symbol of modern design and expert Italian craftsmanship. The luxurious oval dining table with fixed tabletop and ba...

Italian modern wood dining table with extensions by Gigi Sabadin, 1980s Dining table with extensions in light wood, consisting of two separate tables inserted inside each other. Each...

Perseo Marble Dining Table by Barberini & Gunnell Limited Edition of 30 Dimensions: D 175 x W 175 x H 75 cm. Materials: Marble, mirror polished stainless steel. Limited Edition, sig...

Scroll down and click "view all from Seller" to see more than 400 other unique products. (1.8) Table made with solid wood top, geometric iron base with visible welds and special sha...

Sculpted marble "Amazonas" dining table, Giorgio Bonaguro Dimensions: 240 W x 120 D x 74 H cm Materials: Calacatta Oro marble, natural wicker The "Amazonas" collection design...

The Clifford rectangular dining table features a sculptural solid walnut base supporting a 10mm thick tempered natural glass top with rounded corners. The glass is secured with elect...

Beautiful Italian wooden table from 1950. The entire structure of the table was made of fine wood, embedded in the top, a sheet of glass stained light gray, almost making it look li...

Murano Glass Dining Table with Embedded Stem Lights by Giovanni Dalla Fina Italy. A Monumental Murano Glass Dining Table with Intricately Integrated Stem Lighting. This captivating m...

Hand-Crafted Isola Dining Table III in Arabescato Marble by Paloma Editions Dimensions: D 160 x W 160 x H 75 cm. Materials: Arabescato marble. The Isola Dining Table features a duo ...

In a world where design transcends time, there emerges a masterpiece that dances on the delicate line between the past and the future. A relic from the late 1970s to the early 1980s,...

Sicis is delighted to welcome you at ‘Home’. The classically inspired extent in contemporary plays an eclectic style, elegant and refined. Interiors express personality. A constant...

The dynamic and sculptural flair exuded by this dining table makes it a striking choice to add character and chromatic depth to any contemporary or modern interior. A bundle of hand-soldered slanted legs in black-lacquered iron sustains the oval top in prized Sahara Noir...

Round table from the 1950s, attributed to Osvaldo Borsani. The table is foldable in its side parts. In fact we find under the table top two locks or brass mechanism that allow the tw...

A round metal and glass dining table of Italian manufacture from the 1950s. In its simplicity, this small table expresses the potential of two materials that may seem opposites but...

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...

Sarzamin is where earth meets ceremony. It is a dining table that feels ancient and eternal, like a sacred altar for gathering, grounded in the raw poetry of stone. Named after the P...

Dining table designed by Umberto Mascagni of Bologna in the 1950s. The main body structure is in solid European wood, covered in cream-colored vinyl with anodized aluminum. Even the legs are covered with black vinyl! Very attractive table, excellent vintage condition! This extravagant table...

Probably the first table model flip flap by Dyrlung Smith the table can offer with the flip flap system a diameter of 190 cm max. Name Flip Flap table ...

After graduating from the Design Academy Eindhoven with a degree in Contextual Design, product designer Jan Ankiersztajn established his eponymous stu...

Mid-Century Modern Italian chrome stainless steel dining or side table with round glass top.

Crafted from a monolithic block, Jumbo can be carved in a wide spectrum of natural stones. The brass tabletop can be tailor-made to size and also fabricated in different metal finish...

Mid-Century Modern Italian Round Table with "Marquina" Marble Top. The basement of the table is composed by three Stainless Steel cylinders that make to the whole table very distinti...

Italian Mid Century Dining Table designed by Melchiorre Bega in 1950s, Portuguese pink marble top, a highly prestigious marble, appreciated for its beauty and timeless elegance, each...

Description: Mid-Century modern dining room sets by Paolo Buffa (La Permanente Mobili Cantu) consists of: long sideboard, small sideboard, table with glass top and four chairs. Orig...

A rare table in brass and wood with inlaid top and adjustable height mechanism, design by Ignazio Gardella, Azucena catalogue, 1950s. Architecture and design, in Ignazio Gardella’s ...

The Marmont Dining Table is monolithic yet graceful, a sculptural presence carved in stone. Its bow-tie base anchors the form with commanding strength, while soft curves and generous...

Tulip oval dining table designed by Eero Saarinen in 1957 and manufactured by Knoll in 1967. Composed of a white lacquered pedestal and a tabletop made of ...

Laguna Dining Table with Lacquered Wood & Clear Glass Top by Antonio De Marco Dimensions: D 109 x W 346 x H 77 cm. Materials: Wood and glass. Available in different material optio...

A dynamic and contemporary piece of functional decor, this side table is defined by its captivating use of textures and geometries. Entirely made of steel, the base structure is made...

Angelo Mangiarotti cast iron and Indian rosewood dining table for "La Sorgente del Mobile" Italy 1972. Cm 200.00 x 72.00 x 80.00. Wear con...

Rare Art Deco table in a rationalist style, maple top with a central decoration, black lacquered wood base and on the sides. Extendible at the ends.

Table model TL2, known as "Cavalletto," designed by Franco Albini in 1950 for Poggi. Wooden frame with rectangular top resting on two trestle bases joined by a reinforcing bar. The p...

Square extensible walnut table designed by Silvio Coppola for Bernini production 1970s. The measurements of the open table become W 155 D 155 H 70.5 cm Graduated in Architecture fro...

They can be sold separately Italy 18th century majestic dining room set, baroque renaissance, table and six chairs, all in solid walnut restored and polished to wax. On request the c...

This is a very eclectic table cause it's unusual form with its top on a pair of easels made in clear crystal, it's an important table or desk but at the...

USA modern bamboo and glass round dining table by McGuire, 1970s Dining table with round top in bevelled glass. The bamboo base narrow in the center and widens on the sides. At the c...

Ottanta Dining Table

Merlino Dining Table

This marvel of a table consists of a rectangular-section brass tubular frame supporting a massive ivory-colored laminate top edged with brass bands. It can be accompanied by 4 chairs...

Pretty Venetian dining table period 1910s by Cabinetry Bovolone with extension leaves. Early 20th century Baroque Venetian with top in burl walnu...

Round dining table made in Italy in the late 1950s. Top in teak wood. Black iron legs with brass feet. The table top has been restored; the black painting of the legs is original bu...

Handmade round table in resin and iron. A 3d composition made using different layers of resin. Each layer contains different kinds of objects, mixing precious material like gold, bra...

Beautiful dining table with wood and brass frame and glass top attributed to Giovanni Ferrabini. Italian manufacture. 1950s

Glenn Desk Table by VUUN ITALIA Dimensions: D 80 x W 180 x H 72 cm. Materials: Extralight glass and oak. Available in different finishes and sizes. Please contact us. VUUN Italia ...

70s natural color oak table, extendable, honeycomb, with extensions, Scandinavian design. Closed size cm: 79 x 120 x 80 H Open size cm.: 79 x 200 x 80 H. They will be delivered in ...

A sculptural table, made entirely of premium Calacatta marble, a symbol of timeless luxury and elegance. The cylindrical base features refined vertical grooves, crafted with extreme ...