Tables

Roger Capron, coffee table, ceramic, stained mahogany, stained beech, France, 1960s. French coffee table with wonderful composed ceramic tiles by French designer Roger Capron. Bot...

Atlante is a round dining table with essential lines and a strong inspiration. Completely fashioned in UHPC concrete mortar by a team of expert artisans, this table perfeclty emodi...

Side table made of solid architectural concrete in white. Apt for indoor and outdoor use. Regulatory glides included. Few pieces have achieved bestseller success and simultaneous pu...

Elementary, functional, customisable. Giorgione is a sculptural piece that brings to mind the architectural style of the beginning of the last century, fitting perfectly in any envir...

Coffee table in solid maple. Worked out by hand in leaf form The deformed leaf - stem / leaf tip / leaf side are the support points The wood is sculpted...

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...

A series of side tables, Explorer 1, 2 and 3 inspired by the playful and what remind one of jelly-beans, rounded sweets that that children eat in the US. This childlike inspiration h...

The value of change in a simple act, in stock. Karen Chekerdjian’s new creation puts design front and centre: from one foundation, multiple possibilities. An essential shape and cla...

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

Antique French white oak dining room table, with an exceptionally thick white oak top and whether you choose to call it a farm table, Rustic dining table, or just an old trestle dining room table...

Mila high blue side table by Pulpo. Dimensions: D36 x H48 cm. Materials: ceramic. Also available in different colours. Three heights from one source, in two different shapes ...

Midcentury Brutalist coffee table with a round faux stone top, graphic detailed edging and dark oak tripod legs. In original condition with visible wear consistent with its age and use.

A large antique lamp stand in the manner of Hunzinger offers mahogany construction with top having rope twist trim over flared base with carved b...

The MGB coffee table's top is made out of a 3/4" thick Starphire glass (Ultra clear glass). Its base is made from a 3/4" thick slab of Verde Assoluto Italian Marble and held together...

The Eclipse stool in cream shagreen by R&Y Augousti is geometric and sculptural. A jewel-like amorphous shape, this piece is completely inlaid in shag...

Andre Bus for Lane Acclaim Walnut Dovetail coffee table A rectangular shaped Mid-Century Modern style coffee table by Lane, their Acclaim Ser...

Modernist glass mounted silvered metal side table with a square top. Dealer: S138XX

Coffee table Attributed to Fontana Arte Thick glass sections Brass rods holding it together 1960s Italy.

Very nice simple design, solid Pine top. Tapered legs. 1960s. Good condition.

Artistic streak and craftsmanship excellence find their ultimate expression in our Demetra coffee table, an eye-catching marriage of solemn materials and flawless shapes. Resting ato...

Handsome Lane Acclaim series 900-05 gunstock walnut lamp table, end table, or side table designed by Andre Bus. It is in wonderful vintage condition. The top has been refinished to remove a darkened water ring otherwise finish is original. Please see photos, circa 6/17/1967. This Lane Acclaim series 900-05 lamp table is an icon of American mid-century modern design. It was designed in 1958 by Andre Bus and was immediately embraced by the buying public. At a time when the American design aesthetic was big and flashy and cars had enormous tailfins, but the Minimalist Danish Modern furniture imports were flooding the market, the Acclaim series was just the answer. It had the svelte minimal silhouette and gorgeous woods featured in the Danish designs but with its oversized dovetail non-essential joints giving a nod to the American extravagance that was exploding along with the Baby Boomer population. This double tiered side table...

This impressive monastery table is made in solid aged oak. The table is made in our own workshop with the use of aged French oak. The proces of aging the wood takes place under high ...

A set of two contemporary round coffeetables with solid aged oak top and solid steel base. The smaller table can be pushed under the larger one to create different settings. The top...

Napoleon table-stool, is charismatic personalities of striking originality and anti-conformism. Stools and tables which are cute and humorous but wit...

Tip Top is a small side table, light and versatile, formed of a single base supporting the solid 48 cm diameter table top. The combination of the colored top and the transparent, hol...

Mike was born out of a geometrical game of combining rhombi. 12 wooden elements with rhombus-shaped tops are assembled with handmade brass butterfly wing bolts to form a stool or sid...

Oak Brutalist dining table.

Tree trunk half round table Brass Hand repousse Limited edition Contemporary Each piece is individually crafted and is unique. Repoussé is the traditional art of hand-hammeri...

Brass dining table with architectural legs and glass inserts, paper label, no leaf.

Arch 01.1 is a stool or a side table with a clear design language. What looks like a static element quickly becomes much more dynamic when in use by someone sitting on it. The curve ...

Paul Evans Cityscape dining table in chrome with two leaves.

Biloba Dining Table, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. Designed by Rute Martins for the Contemporary Collection, Biloba takes inspiration from nature to luxury by combining the unique shape of the Ginkgo Biloba leaf with the elegance of high quality, stunning marble: Green Guatemala, Rosa Egeo, Verde Antiqua and Calacatta Cremo. The tabletop border in brushed brass adds a refined detail to this piece. It is the beautiful duality between luxurious design and raw elements that highlights the presence of this piece in any interior. Biloba 12-Seat Dining Table Material Codes FI136 dark green lacquer; satin finish ME006 brushed brass; high-gloss finish ST005 green Guatemala marble; polished ST010 Calacatta Cremo marble; polished ST033 Verde Antigua...

This minimalist oak table has been used for decades as a work table at a Belgian baker to knead the dough. The tablet has a very beautiful p...

Artist and illustrator Geoff McFetridge creates the limited edition Bigfoot dice celebrating the twentieth year of e15 and its first product, the i...

A classic 1960s reversible coffee table by Ole Wanscher for Poul Jeppesen, which can also be used as an end table, side table or occasional ...

Dining table Brown lacquered goatskin By Aldo Tura Oval shaped Oval base 1960s-1970s Italy.

Fantastic pair of vintage night stands by the American of Martinsville furniture company. Beautifully carved legs lend an almost Primitive feel to an otherwise Classic Mid-Century Mo...

Mallet drumstool Cream Lacquer Copper Base Hand Repoussé Limited Edition Contemporary Lacquer is a technique that dates back to the Shang dynasty, circa 1600-1100 B.C. These ...

Small round Mid-Century butcher block, Internal Lightbulbs and Refurbished.

Aldo Tura 1960s standing ashtray or vide poche made of wood applied with lacquered goatskin in green pigment dye with dark speckles mounted in a solid brass tripod Stand. Brass finis...

A vintage Burmese Country style bamboo side table from the Mid-20th Century, with hand woven rattan top, geometric base and patinated brass feet. Created in Burma (nowadays known as Myanmar) during the Midcentury period, this stylish side table features a linear Silhouette made of a geometrically organized bamboo base. Presenting a rectangular shaped rattan top, the table is mounted on petite patinated brass feet. With its clean lines, elaborate design and great rustic character, this Burmese Country style side table...

Handsome 19th century English Georgian mahogany tripod drink table or candle stand featuring a variegated marble top. Crafted from mahogany with an aged faded patina. The round top i...

Zun drumstool Black lacquer Hand repoussé Limited edition Each piece is individually crafted and is unique. Lacquer is a technique that dates back to the Shang dynasty, circa...

This stunning travertine top coffee table up for consideration. This form of terrestrial limestone is the perfect topper for this style of coffee table. With metal base. The tan and ...

Mobichalet, set of dining table - pair of benches - stool, oak, beech, Belgium, 1950s This rustic dining set will come forward nicely in a relaxi...

Vintage Mid-Century Modern Magnavox Entertainment Center /Accent Table, circa 1960s. Features a midcentury Hollywood Regency Walnut Cabinet / Accent Table with doors...

Dramatic black lacquered wall mounted demi-lune console table featuring a conforming Carrara marble top made in the grand French provincial or Louis XV taste with carved rosettes and...

Jean oval center table is unique in its conception with Organic Modern inspiration. The combination of three different Natural Stone Marbles like Estremoz marble, Nero Marquina and Estremoz Pink marble makes this piece a sign of nonconformity and originality. Natural Stone is unrepeatable in its individuality, this way each Jean center table is unique featuring the marbles natural veins, textures and tone nuances. Open since 1997 and based in Lisbon, Portugal, a country with a long crafts tradition, Mambo Unlimited Ideas' design team researches for innovation and creativity developments around the world while embracing the crafts heritage, creating contemporary pieces combining traditional Portuguese materials and handmade techniques producing original, high quality products. Mambo Unlimited Ideas is dedicated to furniture and upholstery. Its collection offers a comprehensive customizable furniture...

Armona Coffee Table, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. Designed by Rute Martins for the Contemporary Col...

Raw Side Table, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The interplay of perfectionism and raw beauty allows simpli...

This 1970s, Brutalist, heavy, round coffee table is made from solid oak and has three sturdy square tripod legs. The piece is lightly refinished. In otherwise original condition with...

These Italian bedside tables from the 1950s are very pleasant in proportion and have acquired a refined patina over the years. The four legs are made of solid rosewood and are respon...

A very good quality late 18th century, Sheraton Period, Georgian occasional lamp table, having superbly figured octagonal top, with wide satinwood cross banded decoration, over one d...

Set of 3 midcentury nesting tables constructed with round exotic wood tops, chrome legs and black ball feet. No apparent marks.

Charming pair of lacquered nightstands made in the country French provincial or Louis XV taste. The nightstands feature dramatic pink faux-marble painted tops with a scalloped galler...

Rustic country French provincial farmhouse dining table or writing table desk featuring a weathered bleached oak finish. The table has a 1 inch thick plank top supported by a trestle...

Few pieces have achieved bestseller success and simultaneous publishing as this singular side table by Jaime Hayon. It is functional, has quality and a touch of humour, which is alwa...

DePuydt (attr) Brutalist heavy oak dining table with pointed footing. In original condition with visible wear and fading to the table top, consistent with its age and use. Shown with a matching set of 4 Brutalist Oak De Puydt dining chairs...