Dining Room Tables

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...

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

18th Century two plank elm farmhouse table with oak base. Beautiful original colour and patination. The patina to the top from years of use is stunning and gives the piece a superb l...

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 ...

Stunning Henredon Scene three ebonized black and burled walnut dining table. The table measures 29.5" T x 80" L x 44" W. Please note that we do have the matching chairs and cabinets ...

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

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...

The Ashby table is evidence of Lemon’s journey into increasing simplicity. Versatile in nature, the piece’s pure silhouette, elegant proportions and dra...

This solid oak brutal dining table with a triangular base and a dramatic black aesthetic finish, gives every space you place it a modern and unique look. Hand-crafted by Mexican Arte...

Large French bistro table or patio and garden dining table that would also make a great console. The table features a long variegated thick marble top with rounded ends in fascinatin...

Rosewood. Measures: H 72 cm/ 28 1/3 W 103.5 cm/ 3' 4 3/4" Length when closed 200 cm/ 6' 6 3/4" Length when fully extended/ 300 cm/ 9' 10 1/8".    

A ash and laminate table designed by Hans Wegner for PP Møbler. A wonderfully minimal design by Wegner that was intended as a work table but could be used as a desk, writing table or...

Rainer Daumiller, dining table, pine, Denmark, 1970s This dining table by Rainer Daumiller can be configured into three versions by means of the availability of an extendable feat...

The Ashby marble round dining table is evidence of Lemon’s journey into increasing simplicity. With a design cued entirely by honed Bianco Carrara marble, its round slim top is count...

Anambé dining table is part of a very important project to develop poor Amazonian communities in the art of manufacturing design furniture using correctly the FSC certified wood prod...

Dining tables with marble tops and multifaceted pedestals in cast bronze, blackened bronze or aluminum. Inspired by Doric columns in archaic architecture, the extruded multi-point star pedestals have a different finish on each vertical face: the cast metal is polished on one side but left raw on the other. The shading is amplified by the different finishes resulting in a dramatic effect. The pedestal(s) can be combined with tops in any kind of marble and with any shape or dimension. Crafted in Tuscany, Italy, in a foundry specialized in bronze sculptures, serving artists among the most renowned in the world. This piece is part of our Doris collection that also comprises a console, side and coffee tables. Standard top materials: pink Portugal, white Carrara, green Serpentino and gold Calacatta marble. Standard pedestal materials: oxidized bronze, blackened bronze and aluminum (polished and coarse). Standard sizes: round top 5'3" dia (seats 8) oval top 3'7" x 6'7" (seats 8) rectangular top 3'11” x 7'11” (seats 10) top thickness 0.8" single pedestal 25.2" dia double pedestal 14.2" dia each This listing is for a single pedestal round table...

This table is made out of all natural solid oak, 100% hand-crafted by experienced Mexican artinsans. Maintains the organic tone of oak with a solid beautiful tabletop and a spider ...

This solid oak brutal dining table with a triangular base, gives every space you place it a modern and unique look. Hand-crafted by Mexican Artesans. Inspired in 1970´s Brutalism.

Timeless and elegant, our signature dining table was designed with connection in mind. The clean natural lines of the Oslo Dining table are a perf...

This is a Danish teak dining table with 2 extension leaves. Leaves can be stored inside the table when not in use. Very nice condition overall. Some loss of finish on the table top...

For an efficient workstation or Craft table or sleek dining table, the four table from Kartell is the ideal solution packaged in a modern design. Designed by Ferruccio Laviani, this ...

Purpose and design align in our Columbia Trestle Table. A solid trestle base is the grounding feature in this beautifully crafted modern take...

Our Cadelon live edge dining table is handmade to order from a one-of-kind black walnut slab with a hand rubbed natural oil and wax finish that e...

20th century monumental sized genuine McGuire dining table featuring a 102 inch long rectangular beveled glass top. The base is constructed from an iron frame painted golden gate ora...

The Spade Dining table is a modern take on the classic trestle table. Solid wood joinery combined with careful shaping and clean lines give this ...

Shimmer rectangular high table is shown here with laminated and glued glass, and in the large size of the four rectangular tables. The collection consists of high tables, low tables ...

A very good antique American Mission/Arts & Crafts dining set by Charles Limbert, branded marks, circa 1905. The set comprising a circular table model # 1408, with four original lea...

Handcrafted solid peruvian walnut dining table. Tabletop is 2" thick with a V shape beautiful walnut base.

Olisippo Dining Table, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. Reminiscent of Lisbon's ancient history, this...

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

Ferreirinha Dining Table, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. With its very feminine character, this dining table is a tribute to Antónia Adelai...

Round dining table with a handmade metal base. Different options are available for the tabletop: concrete, wood or stone. Base also available in bronze or various powder coat finish...

Dining or conference table, stained mahogany, pine underside, Denmark, 1960s This grandiose table of Danish origin features a tripartite structure defined by clear lines and fine ...

Contemporary round marble-top table with brass tubular base.

The Ashby Travertine round dining table is evidence of Lemon’s journey into increasing simplicity. With a design cued entirely by honed and filled Travertine, its round slim top is c...

Fall Dining Table, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. A modern allure emerges with Fall dining table, enhancing any dining space by taking the ...

This handmade round pedestal table features a solid wood coopered base and square edge solid wood top. Edward Collinson hand selects all their wood from English suppliers, the simpli...

Overpass is a contemporary table inspired by the simple forms and robust construction of freeway interchanges. Foregrounding the natural beauty of solid wood, a blackened steel chass...

The Ashby marble round dining table is evidence of Lemon’s journey into increasing simplicity. With a design cued entirely by polished marble, its round slim top is countered by a st...

The Ashby table is evidence of Lemon’s journey into increasing simplicity. Versatile in nature, the piece’s pure silhouette, elegant proportions and dra...

Handcrafted extendable black oak dining table goes from 72" - 112" Lenght. Central pieces hide inside of the table when needing to use the ...

Armona dining table, Contemporary Collection, handcrafted in Portugal - Europe by Greenapple. Designed by Rute Martins for the Contemporary C...

An elegant and raredining table designed by Giampiero Vitelli in the 1970s.Teak frame .Extensible:130cm-180 cm.Excellent condition. Free professional packing is provided.

Our ‘X’ base dining table is one of our studio favorites. It has an organic sculptural quality and lightness while also being sturdy. The ‘X’ of the base is a showcase of careful joi...

Streamlined and elegant, our Columbia dining table will bring Mid-Century Modern style to any space. Raked legs create a dynamic base for our signature beveled edge tabletop. Enhance...

This fantastic Austrian midcentury dining table has been designed in Vienna 1950s. It features a central blackened steel construction with a bright pine veneered top which has been s...

This is a large rectangular Danish rosewood dining table with 2 folding extension leaves. Made by Skaraborgs Denmark. Original label underneath the table. Fantastic condition. Minor ...

Incredible and charming dining table of Dassi Furniture Moderni manufacture from the Italian 1950s. The table features so many incredible details. First it is made of majestic and el...

Ten dining table, oval, 270cm. Solid wood tabletop and legs. Handmade in Denmark. Height: 72 or 74 cm Tabletop dimensions: – 200 x 95 cm ...

This George Nakashima inspired dining table in walnut is a statement dining table. It is inspired by Nakashima’s iconic ‘Frenchman’s Cove II’ tab...

A stunning French Provincial Louis XV Italian style table. Made of solid oak, it displays a gorgeous “parquet de Versailles” tabletop, two fabulous St Jacques shells engravings on th...

The Ashby marble round dining table is evidence of Lemon’s journey into increasing simplicity. With a design cued entirely by honed Verde Guatemala marble, its round slim top is coun...

The Ashby marble round dining table is evidence of Lemon’s journey into increasing simplicity. With a design cued entirely by polished Rosso Levanto marble, its round slim top is cou...

Sistelo Dining Table, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. In perfect harmony with the breathtaking landscape of Sistelo, this dining table takes on the forms of the hidden Portuguese jewel...

Beautiful condition vintage veined marble table with incredible veining. Chrome pedestal base. Perfect for any decor. Osvaldo Borsani, beautiful...

The table bangles are an important dining table with mirror-polished stainless steel structure and top created by a composition of beautiful blue onyx slabs enriched by an Absolute W...

This is a large Danish rosewood dining table with 2 extension leaves. Very nice condition. Numerous light scratches in the laquer finish. Not all the way into the wood just in the fi...

A pièce de résistance to enhance any dining room, the WaveWoo table is a popular conversation-starter that always attracts attention. The contours of this dramatic design evoke the n...