Carlo Scarpa Tables

Carlo Scarpa, “Valmarana” table, 1971-72, in its original bleached Ash version. "Valmarana with its solid and essential design shows Scarpa’s passion for conceiving designs that add...

Mid-Century Modern Travertine Dining Table by Carlo Scarpa, 1970s

“Delfi” dining table, designed by Carlo Scarpa and Marcel Breuer and produced by the Italian manufacturer Studio Simon in 1969. Made of white Nax...

Carlo Scarpa Orseolo Table For Cassina A modern table but, above all, an absolute masterpiece and unsurpassed model of formal beauty, inspired by...

Carlo Scarpa Orseolo Table For Cassina A modern table but, above all, an absolute masterpiece and unsurpassed model of formal beauty, inspired by...

Carlo Scarpa Sarpi Table For Cassina Carlo Scarpa designed this design table in 1974, successor to the popular Doge, with which it appears in the ...

Doge table in glass and steel, designed in 1968 by one of the most influential Italian architects and designers Carlo Scarpa for the great Italian visionary Dino Gavina and his compa...

Carlo Scarpa was an Italian architect and designer, among the most important of the 20th century. Linked to art, in particular with the art of glassmaking, of which Venice is the Italian capital, is also his first prestigious position in the world of design, the artistic direction of Venini, a role he held between 1933 and 1947 and through which he brought the centuries-old tradition of Murano glass into modernity. His meeting with Gavina would lead him to create his most famous furnishings. Here we have a big dinner table made by Carlo Scarpa for Simon Gavina. Carlo Scarpa was inspired by the architectural structure, with the thick flat profiles supporting the crystal top. The drawn steel structure is enhanced by the transparency of the top. This item is perfect not only in the dining room but also as a meeting table...

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...

Price is dependent on the chosen material and size. Available sizes: 241x77 240x92 280x92 FASTENERS: Cast satin finish aluminum. FRAME TOP: MDF boards covered with a coat of mirr...

Price is dependent on the chosen material and size. Available sizes: 260X102cm 220X110cm 346X102cm 306X102cm Available materials: MARBLE: MARQUINA MARBLE CARRARA MARBLE GLASS: ...

Dining Table "DOGE" by Carlo Scarpa, 1960s

Price is dependent on the chosen material and size. Available materials: Marquina or Carrara marble. Also available in 220 x 110cm or 260 x 102cm or 306 x 102cm. The table can also b...

Carlo Scarpa Orseolo Table For Cassina A modern table but, above all, an absolute masterpiece and unsurpassed model of formal beauty, inspired by...

Price is dependent on the chosen size. Available sizes: 213 x 133 (octogonal shape) 213 x 163 (oval shape) 220 x 110 (rectangular) 150 x 150 (square) 200 x 200 (square) 200 x 200 ...

Carlo Scarpa Sarpi Table for Simon Gavina, Italy (First Edition) An authentic icon of Italian design, the Sarpi table features a brushed stainless ...

Carlo Scarpa "Argo" oval table for Simon Gavina, Roman travertine, Italy, 1975. The "Argo" travertine console-table is part of the 'Ultrarazionale' ...

Mid-Century Modern Dining Table by Carlo Scarpa, Marble and Glass, Italy, 1960s

Early and Large version Carlo Scarpa Quatour table for the Metamobile series by Simon Gavina, Italy 1974.

Carlo Scarpa Sarpi Table for Simon Gavina, Italy (First Edition) An authentic icon of Italian design, the Sarpi table features a brushed stainless ...

Valmarana table in ash wood designed by Carlo Scarpa and produced by Simon Gavina in the 1970s. Carlo Scarpa is a renowned architect with deep ties to Venice, where he was born and...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

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...

Table designed by Carlo Scarpa in 1974 for Simon. Satin-finish drawn metal frame, visible burnished screws, brass top feet. Thick (1.5 mm) rectangular glass top. Carlo Scarpa was one...

Rare table model Mexana 154 by Carlo Scarpa for Simon Gavina, designed in 1970s. This table stands out for its combination of elegance, functionality, and craftsmanship. The design i...

Carlo Scarpa, “Valmarana” table, 1971-72, in its original bleached Ash version. "Valmarana with its solid and essential design shows Scarpa’s passion for conceiving designs that add...

This is the largest, single-pedestal version of this iconic design by Carlo Scarpa for Simon c. 1975. This most desirable piece is constructed of solid, beautifully figured Cream col...

Carlo Scarpa "Orseolo" black table for Simon, 1972. Table, polyester varnished with mirror polished finish, made for the assembly of thick, elementary geometric panels with satin-fi...

Carlo Scarpa's ‘Samo’ dining table was designed for Simon Gavina in 1971. Part of the 'Ultrarazionale' collection, this rare piece features two grooved Carrara marble pillars support...

Carlo Scarpa "Samo" oval table for Simon Gavina, white Carrara marble, Italy, 1971. The Scarpa's way of thinking the architecture is particularly visible in this piece. The “Samo” d...

Carlo Scarpa Orseolo Table For Cassina A modern table but, above all, an absolute masterpiece and unsurpassed model of formal beauty, inspired by...

Dining Table "DOGE" by Carlo Scarpa, 1960s

Carlo Scarpa Doge Table For Cassina A sculptural structure that has become an emblem of Italian design, a trademark of the new ultrarational ...

Quatour table by Carlo Scarpa. A large wooden table, a project that derives from a 1947 sketch by Scarpa for a “simple slat” table conceived for his home. The table top has the two...

The Quatour Dining Table by Carlo Scarpa is a stunning example of the Italian architect’s mastery of form and material. This version features a matte black oil finish with a subtle b...

Dining table mod. 'Samo' by Carlo Scarpa. Series 'Ultrarazionale'. Italy, 1970. Manufactured by Simon. Granite. Literature: Giuliana Gramigna, Repertorio 1950-2000, Allemandi, Torino...

Sarpi table designed by Carlo Scarpa for Simon Gavina with frame in brushed stainless steel, held together with visible recessed screws, Bologna, Italy, 1970. Glass table top with ro...

Carlo Scarpa (1906- 1978) was an Italian architect and designer heavily influenced by the history of Venetian culture, materials and landscape. in 1926 obtained his diploma of Profes...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

Carlo Scarpa “Argo” oval table for Simon Gavina in red travertine marble, Italy, 1975. The “Argo” travertine console-table is part of the ‘Ultrarazionale’ collection by Simon Gavina...

“Delfi” dining table, designed by Carlo Scarpa and Marcel Breuer and produced by the Italian manufacturer Studio Simon in 1969. Made of white Nax...

Mid-Century Modern Dining Table by Carlo Scarpa, Marble and Glass, Italy, 1960s

Carlo Scarpa Orseolo Table For Cassina A modern table but, above all, an absolute masterpiece and unsurpassed model of formal beauty, inspired by the in...

Carlo Scarpa Sarpi Table For Cassina Carlo Scarpa designed this design table in 1974, successor to the popular Doge, with which it appears in the ...

Marcel Breuer And Carlo Scarpa Delfi Marble and Glass Table Manufactured by Cassina (Italy) ELEGANCE OF LINE The design table with rectangular to...

Carlo Scarpa Doge Table For Cassina A sculptural structure that has become an emblem of Italian design, a trademark of the new ultrarational ...

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...

Model "Samo" table oval slab of clear glass on travertine frame designed by Carlo Scarpa made by Simon in Italy around 1970. Particular version made with natural beige travertine, a...

The 'Delfi' dining table, crafted entirely from pristine white marble, showcases its natural veining and impeccable beauty. The table features a striking rectangular top supported by...

Original Delfi table in excellent condition. Produced by Gavina, Italy Designed by Carlo Scarpa and Marcel Breuer This particular table is made of a rare Bianco Cristallino marble...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

Samo table designed by Carlo Scarpa in Carrara marble. Two layered pillars as legs. Oval thick tabletop. Bibliography: Fondazione Scientifica Querini Stampalia, “Dino Gavina, col...

Dining table mod. Delfi designed by Carlo Scarpa and Marcel Breuer for Gavina. Composed of two sculptural bases and a rectangular top 4 cm thick. Made in Carrara marble. Italy 1968. ...

This Italian dining table from the 1970s exudes timeless elegance and beauty. It was designed by perhaps one of the prominent Italian modernist designers of the last century. What im...

Carlo Scarpa "Argo" oval table for Simon Gavina, Roman travertine, Italy, 1975. The "Argo" travertine console-table is part of the 'Ultrarazionale' ...

Italian modern round marble table Samo by Carlo Scarpa for Simon Gavina, 1970s Dining table mod. Samo in white arabesque marble, with round t...

Architectural dining table designed by Carlo Scarpa in 1968. The design was part of the 'Ultrarazionale' collection, initiated by Dino Gavina in collaboration with Carlo Scarpa in 19...

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...

Carlo Scarpa "Samo" oval table for Simon Gavina, white Carrara marble, Italy, 1971. The Scarpa's way of thinking the architecture is particularly visible in this piece. The “Samo” d...

Gorgeous oval shaped table by Carlo Scarpa in cream travertine marble. Italy, 1970's "Argo" center or dining table designed for the Ultrazionale" collection Single pedestal with w...

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

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...

Carlo Scarpa Sarpi Table For Cassina Carlo Scarpa designed this design table in 1974, successor to the popular Doge, with which it appears in the ...

Gritti table by Carlo Scarpa produced by Simon in 1976. A large table made with solid wood cylinders, crystal top, plexiglass feet ends. Bibliography: ...

Carlo Scarpa for Simon, 'Gritti' table, stained mahogany, leatherette, Italy, 1973. Made in 1973, this grand table is the result of Carlo Scarpa's architectural sensibility construc...

“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...

Carlo Scarpa and Hiroyuki Toyoda for Simon Gavina, conference table, fabric top, chromed steel, Italy, design 1973 Elegant conference table was initially designed by Carlo Scarpa in...

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

Carlo Scarpa Sarpi Table For Cassina Carlo Scarpa designed this design table in 1974, successor to the popular Doge, with which it appears in the ...

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...

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, consis...

Mid-Century Modern Travertine Dining Table by Carlo Scarpa, 1970s