Coffee Table in Hand-Etched Aluminum by Marvin Arenson

"Chinese Style Coffee Table" in yellow python by Karl Springer, American, 1970s.

Elegant coffee table with polished steel base and oval glass top by Tommi Parzinger for Parzinger Originals, American, 1960s.

Rectangular coffee table in gilded bronze and scroll legs with thick glass top, French, 1950s.

Rare and exceptional coffee table No. 1322 with etched pewter top on a mahogany base by Harvey Probber, American 1950's. This coffee table was only in production for a short time; it is shown in the catalog from the 1950’s. The etched metal top was made by artist Arpad Rosti with whom Probber collaborated on several designs. The intricate pattern on the top is stunning. This coffee table was part of the retrospective at the New York School...

Round coffee table etched in steel to give an impression on embedded mozaiques.

Arenson table with hidden storage below. Arenson Studios was a collaboration of marvin and richard arenson. the father and son team created art furniture in west palm beach florida i...

Whorl coffee table in powder coated aluminum by Neal Aronowitz Design Dimensions: D 61 x W 139.7 x H 45.7 cm Materials: Aluminium. Size and color...

Aluminum concretion coffee table by Studio Julien Manaira Dimensions: 65 x 65 x 40 cm Materials: Aluminium and stainless steel The concretion project consists of sand-casting aluminium in a base of stainless steel tubes to form objects. The tubes are placed and cut to certain heights according to what the gross object’s dimensions will be. The shapes of each horizontal surface are then prepared by hand without following any precise plan. Each pouring of aluminium is at the same time forming surfaces of the object as well as connecting elements together. The aim of this process is to create a strong relation between two types of metal: the industrial stainless steel and the brut hand-cast aluminium, that comes visually as an extension of the first one. The two types of metal have two opposite relation to time, the industrial tube can’t be placed in time, only resulting from a continuous chain of production when the hand-cast part captures the very moment of formation of the object. This opposition is not meant to compare which materiality is best, but to enrich each other by their difference, and therefore stimulate the Julien Manaira (France, 1992) successively studied industrial design (La martinière, Lyon) and fine arts -option product design (Esad, Reims). in 2015 he came to Amsterdam to follow a temporary master program (Materialisation in Art and Design) at the Sandberg Institute where he graduated in 2017 before opening his studio in the same city. His graduation project ‘The once liquid plastic’ was awarded by the RADO Star Prize 2017 and the 3rd prize of the Pure Talent Contest at IMM Cologne 2018. In the last years, he exhibited his works in different established and recognized organizations such as Paris Design Week, IMM Cologne, Design Parade Hyères, and Milan Design Week. He was commissioned by different companies, among which Nilufar Gallery, Nubikk, Van Dijk Store as well as private clients. The main focus in his practice is setting processes that allow the manufacturer or him to be mentally and physically involved in the transformation of material towards an object. He believes that this empowerment is a way to engage deeper the audience or user’s perception, and therefore create a stronger connection with the object. Serendipity, combining industrial and artisanal material, are examples of how he aims to create objects that are able to communicate their undergone transformations. Iris Box...