Bernini Dining Room Tables

The table "Model 522" was designed by Gianfranco Frattini and manufactured by Bernini in Italy of the 1960s. It is made of rosewood and with its geometric shapes, straight lines and ...

Table in solid walnut and veneer produced in the 60s by Bernini based on a design by Silvio Coppola. The table remains in general rather good condition: having not undergone any rest...

This bizarre appearance is a table with a monumental character. According to tradition, Bernini's operaperto design team joined forces with designer Enzo Testa. The avant la lettre c...

Table in solid walnut and veneer produced in the 60s by Bernini based on a design by Silvio Coppola. The table remains in general rather good condition: having not undergone any rest...

Wooden dining table by Silvio Coppola for Bernini, italy, 1964 Extendable wooden dining table by Silvio Coppola for Bernini. Dimensions: 115 x 115 x 72 h cm extensions: 210 x 115 x...

Beautiful table designed by architect Silvio Coppola and produced by Bernini. Of considerable ingenuity is the mechanism that allows the central part of the table to rise. Equipped w...

Angelo Mangiarotti was a very important italian architect and designer, born in 1921 in Milan. He studied architecture at the Politecnico of Milan and gratuated in 1948. He then went...

Astonishing Model 302 dining table designed by Angelo Mangiarotti and made by Bernini in Milan, Italy  in 1959. This specific table is the biggest version of the Model 302, with a la...

522 model rectangular dining table in Palo Santo, designed by Gianfranco Frattini for Bernini. A timeless table with an iconic design, perfectly crafted in a very noble wood.

Born in Venice in 1906, Carlo Scarpa studied architecture at the city's Academy of Fine Arts, where he graduated in 1926. He taught architectural drawing at the Academy, where he hel...

Giotto Stoppino for Bernini, 'Maia' dining table, walnut and chromed metal, Italy, 1960s Round dining table by Giotto Stoppino. The walnut tabletop shows a warm, honey colored grain...

Francesco Fois for Bernini, 'Click' dining table maple, metal, Italy, 1986 The table model Click, conceived by Francesco Fois for Bernini in the year 1986, stands as a testament to...

Silvio Coppola graduated in Milan Polytechnic with a degree in architecture. As an architect he designed buildings in Baghdad, university towns in Zaire, housing and hotel facilitie...

Scuderia dining room set, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Composed of 5 mod. 783 “Kentucky” dining chairs...

The table "Model 522" was designed by Gianfranco Frattini and manufactured by Bernini in Italy of the 1960s. It is made of rosewood and with its geometric shapes, straight lines and ...

Rectangular dining table designed in 1956 by Gianfranco Frattini for Bernini, Italy. Walnut wood.

1960s Mid-Century Modern Italian round dining table, model 522, by Gianfranco Frattini for Bernini. Clean, sculptural and Rationalist-influenced geometric and angular forms are fasc...

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...

Made in Italy, 1950s. Mod. 522 designed by Gianfranco Frattini and produced by Bernini. It is a vintage piece, therefore it might show slight traces of use, but it can be considere...

Square walnut table, model 612, designed by Silvio Coppola in 1964. Manufactured by Bernini in Italy. Extendable into a large dining table. Literature: G. Gramigna, Repertorio del Design Italiano...

“Scuderia” dining table, designed by Carlo Scarpa and produced by the Italian manufacturer Bernini in 1977. Originally, Carlo Scarpa designed the table to restore the stable of Villa Valmarana in Vicenza in 1972. The table features a solid walnut structure. Available also five “Kentucky” dining...

Franco Poli Table “Cangrande” in Walnut for Bernini, Italy 1970s A superb solid walnut wood table with a lovely beveled crystal top with sandblasted frosted bands by Italian designe...

Tapio Wirkkala for Asko, set of six dining chairs, plywood, nickel-plated steel, Finland, 1950s Beautiful set of 'Nikke' chairs design by the Finnish designer Tapio Wirkkala. This ...

Large Silvio Coppola dining table in walnut for Bernini circa 1968. An updated yet timeless version of a farm table which could be used in nearly any environment.

The "Model 522" round table was designed by Gianfranco Frattini and manufactured by Bernini in Italy of the 1960s. It is made of rosewood and with its geometric shapes, straight lin...

Rectangular dining table model 522, designed by Gianfranco Frattini and produced by Bernini starting in 1960, made of walnut wood. The table is in good condition, showing normal wear...

Dining table by Angelo Mangiarotti model 302 produced by Bernini, Italy 1959. This stunning dining table is composed of a large circular arabescato marble top mounted on a tulip sha...

Silvio Coppola expanding "Bigfoot" dining table for Bernini, Italy, 1960s Silvio Coppola for Bernini, dining table, walnut, brass, Italy, 1960s. Stunning square shaped dining tabl...

Table model 302 cast bronze finished on a lathe and wood floor designed by Angelo Mangiarotti and produced by Bernini in 1959.