Bernini Tables

Enzo Testa for Bernini, coffee table, walnut briar burl, coated steel, rubber, Italy, circa 1980 A rare masterpiece designed by Enzo Testa for Bernini around 1980. This coffee table...

A rare and elegant wooden coffee table, designed by renowned Italian architect and designer Gianfranco Frattini for Bernini. This piece is an extraordinary example of midcentury Ital...

The Model 522 table, designed by Gianfranco Frattini and produced by Bernini, is a refined piece crafted in wood. Featuring clean geometric lines, straight legs, and a round tabletop...

Carlo Scarpa Dining Table for Bernini, Italy, 70s This table is designed by Carlo Scarpa, a renowned Italian architect and designer. The table features a minimalist and elegant desi...

A freestanding, vintage Mid-Century modern Italian writing table made of hand crafted polished Brazilian Rosewood and Walnut, designed by Gianfranco Frattini for Bernini in good cond...

Gorgeous rosewood coffee table by Gianfranco Frattini for Cassina. Very good condition Any defects on the top (look at the pictures).

Rare italian desk Giotto Stoppino for Bernini Italy, 1969 Wood and chrome metal Bibliography: G. Gramigna, 1950-1980 repertorio: immagini...

Carlo Scarpa, 'Scuderia' Walnut Dining Table, manufactured by Bernini in 1977 Of solid walnut structure the grain of the wood is spectacular; with sculpted and canted corner legs a...

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.

Large desk designed by Gianfranco Frattini in 1956 for Bernini, Italy. Walnut wood with two drawers and two spaces in the front side and other four spaces in the back side.

Beautiful circular table in walnut wood, with laminate and steel top, designed by Silvio Coppola for Bernini, a historic Italian design brand, in the 1970s. The table has an ingenio...

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...

Stunning medium sized writing desk model 530 designed by Gianfranco Frattini and manufactured by Bernini, Italy 1957. This desk is made of nicely grained rosewood and cherrywood vene...

Rare coffee table/bar table produced in Italy in the 1960s by Bernini. The particular construction of this table allows it to be transformed from a normal coffee table into a contain...

Silvio Coppola, Extendable Table, Model 612 This elegant extendable walnut wood table, designed by Silvio Coppola, features two extensions stored beneath the tabletop for easy expans...

Silvio Coppola Dining Table, model 611 made in Italy 1964 Bernini Mahogany wood and glazed porcelin bowls Sold with six ceramic serving vessels and one accompanying wood tray. Impre...

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...

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.

A beautiful Midcentury rosewood writing desk by an Italian design icon, Gianfranco Frattini for Bernini was made in Italy in 1957. This sleek proportioned desk is model 530 and featu...

The table model 611 was designed in early '60s and it has with wooden frame and top with movable compartment and glazed ceramic storage elements, that can be used for sharing appetiz...

In this listing you will find a spectacular and exceptionally rare Mid Century Modern Desk designed by Gianfranco Frattini and manufactured by Bernini. The table is done in rosewood....

Imposing table mod "302" by Angelo Mangiarotti for Bernini, 1950s, in bronze casting finished on the lathe and top in very rare "red France" marble. Wear consistent with age and use....

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...

Gianfranco Frattini designed this gorgeous rosewood rolltop desk, model 804, for Bernini in the early 1960s. What appears to be a compact chest of ten...

Mid-Century Italian Wooden Coffee Table by Gianfranco Frattini for Bernini, 1960s

Walnut writing desk model 804 designed in 1961 by Gianfranco Frattini for Bernini, Italy. Tambour top that hides small drawers and a pull out leather writing surface. Front side with...

Francesco Fois for Bernini, 'Click' dining table, alder, steel, Italy, 1986 The table model Click, conceived by Francesco Fois for Bernini in the year 1986, stands as a testament t...

Ico and Luisa Parisi vanity desk from Hotel Lorena, Grosseto manufacured by Ditta Bernini Italy, 1959-60 wood, mirrored glass and laminate Measures: H 75cm,110 x 45 cm ; total hei...

“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...

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...

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

Hardwood writing desk designed by Gianfranco Frattini and produced by Bernini, Italy. The desk features a removable top part with extra drawers and storage compartments. This desk ca...

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 for Bernini, dining table, model '302', cast bronze, marble, Italy, 1959 At first glance, the table appears deceptively simple: a perfect circle of white marble p...

Small side table or a nightstand of hardwood. Designed by Gianfranco Frattini and produced by Bernini, Italy around 1960. Two drawers with built-in handles and central foot on two si...

Rare writing desk model Sesamo 841 designed by Gianfranco Frattini for Bernini production circa 1982. Circular supporting structure in black lacquered iron top in precious black fold...

Very rare and elegant small desk by gianfranco frattini for bernini by opening the drawer the jalousie cover at the back opens. very special piece.

TV stand cabinet from the 1970s made by Bernini (brand name visible). Wooden frame, walnut veneer and rubber for the TV supporting part, 4 wheels to allow easier movement. The TV su...

Ico and Luisa Parisi vanity desk from Hotel Lorena, Grosseto manufacured by Ditta Bernini Italy, 1959-60 this desk is very rare because this is the large version of the desk and...

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...

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...

Scrittoio anni '60 della serie '530' disegnato da Gianfranco Frattini per una produzione Bernini in legno impiallacciato noce. Condizioni molto buone. Restaurato.

Rare and unusual desk designed by Gianfranco Frattini for Bernini. By pulling the desk top out you open the rolltop. This desk cabinet has a lot of storage space, 10 drawers at the f...

A Mid-Century Modern walnut cabinet / end table designed by Gianfranco Frattini. This cabinet has two (2) top drawers having round handles and three (3) drawers with oval integral ha...

Desk with drawers, leather-covered pull-out top, riser with shutter, small chrome-plated aluminum sliding doors and small drawers. Jacaranda veneer wood. Restaurato.

Interesting sculptural ‘Gregge’ coffee table in very good condition. Designed by architect Giulio Lazzotti. Produced by Bernini, Italy. Thick square glass top (18 mm.) The base...