Stone Dining Room Tables

‘LAGO’, ITALIAN FOR ‘LAKE’, HAS INSPIRED A FORM DERIVED FROM NATURE, TEXTURED WITH LUXURIOUS STONES AND METALS. THE COLLECTION ENCOURAGES NESTING AND LAYERING IN ITS AVAILABLE FORMS....

The "Infinitamente" Marble Table, in a limited edition, is available in the double staggered oval version measuring 340x120cm. The table features a glossy White Levigliani marble top...

The Sottsass-inspired “Sass Dining Table” is a bold, graphic statement piece. A honed Carrara marble top sits on an Amish-made base composed of painted and stacked wood circles. ...

An early bleached mahogany and travertine table / desk designed by Edward Wormley for Dunbar.

Limed oak Art Deco style, white quartz top console table. Has an attached decorative black-lacquered round base.

Wedge dining table by Marmi Serafini Materials: Marble, wood, metal. Dimensions: 130 x 130 H 75 cm. Top and leg in marble, support panel in wood no...

MONOLITHIC FORMS SOFTENED BY GENTLE EDGES. WITH ITS BOLD MARBLE PATTERNS CUBO IS AS VERSATILE AS IT IS STRIKING. DIMENSIONS: 74”L x 74”W x 30”H: - 72”L x 72”W x 1.5” THICK TABLETOP...

Refined Set of 3 Travertino silver contemporary marble side tables Measures: Tall: 62 x 45 x 45 cm Medium: 48 x 55 x 55 cm Short: 36 x 80 x 80 cm Materials: Travertino Silver mar...

Large dining table DS-788/96 by De Sede. The dining table DS-788 embodies pure delight. Rather than rest on table legs, the stone tabletop in marble, quartz or granite is poised on t...

Introducing the "Abraccio" Collection or translated "embrace" Collection unites the enduring beauty of solid carved marble with a language of form that pays homage to primitive struc...

Unusual early center table with extending leaves on both ends, allowing for a total length of 76" (193cm). The top inset with a black stone top (slate), beautifully polished througho...

1980’s Pair of Italian travertine table bases by Cattelan Italia. They are in beautiful condition. Can be used as a dining table or a console. Measurements: 7.75” Deep, 15.75” Wid...

This incredible French Art Deco marble top dining table has beautiful legs and gold hardware. Leather running around the circumference...

‘LAGO’, ITALIAN FOR ‘LAKE’, HAS INSPIRED A FORM DERIVED FROM NATURE, TEXTURED WITH LUXURIOUS STONES AND METALS. THE COLLECTION ENCOURAGES NESTING AND LAYERING IN ITS AVAILABLE FORMS....

SIMPLISTIC YET MUSCULAR FORMS INFLUENCED BY POST MODERN ITALIAN DESIGN. DIMENSIONS: 60”L x 60”W x 30”H: - 1.5" THICK TABLE TOP - 16”Ø SOLID BASE WITH 1.5" THICK LEDGE ON TOP WITH ...

Standing out with its material diversity and geometric forms, the HIDDEN series takes its place in the upper segment design world with its nostalgic design approach and fine craftsmanship. Standing out with its dark tones, the collection manages to fascinate with its elegance regardless of product size. Offering a combination of black and brass lines, the HIDDEN table...

An elegant French mid-century hand wrought iron & silver travertine dining / garden table reminiscent of Alberto and Diego Giacometti circa 1940. The piece combines ancient forms and...

Spectacular 1970's Amethyst Geode table. The brass Brutalist base is formed around a large Amethyst Geode that sparkles when illuminated. The ta...

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...

Angelo Mangiarotti, dining table ‘Eros’, round, white marble, the 1970s This sculptural table by Angelo Mangiarotti is a skillful example of postmodern design. The table is execute...

Oval table in massive travertine stone. Creation by Studio Glustin.

A BOLD AND EXPRESSIVE FORM WHERE GEOMETRY AND HARMONY COLLIDE. ITALIAN FOR WRINKLE, 'GRINZA'S ZIG-ZAG STRUCTURE' IS BOTH TIMELESS AND ELEGANT. DIMENSIONS: 118”L x 48”W x 32”H: - 4...

Marble Jack Oval Dining Table by Dovain Studio Dimensions: H 79 x Ø 200 cm Materials: Estremoz White Marble, Metal Dovain Studio Creative direction by Sergio Prieto, a Spanish artis...

Available size: 72" x 36" x 30" H When the renowned designer Paul Mathieu first saw the extraordinary swirling colors and patterning of the Indian sandstone...

Oval table in Art Deco style. Base composed of 4 fluted legs in green patinated copper. Top veneered on scagliola in filiform plates of dark selected Alpi green marble. In the centre...

Round Marble Dining Table Inlaid Top and Wooden base Handmade Italy, Available: Adam style round dining or center table manufactured by hand in our laboratory of artists. The roun...

Marble table "Apparata" designed by Adolfo Natalini Marble table, inlaid top with moon phases. Size: cm. 100 x 240 x 73 H. Materials: Polichrome marble Designed by: Adolfo Natalini.

Grey Saint Laurent Refined Contemporary Marble Oval Table 210/75 Dimensions: 210 x 135 x 75 cm Materials: Grey Saint Laurent marble. Angelo is the essence of a round table in natura...

The Tlameme table and credenza are part of the "Tributo Collection" by Andrés Gutiérrez. Tribute is a series of residential furniture conceived as an artistic exercise, through whic...

X large white marble "sunday" dining table, Jean-Baptiste Souletie Dimensions: 200 W x 100 D x 74.5 H cm. Materials: white Pele de Tigre marble. Different finishes and sizes are a...

This round dining table features a stylish granite top, providing a sense of sophistication and durability. Its base consists of four solid wood legs, carefully designed to offer sta...

Introducing the "Abraccio" Collection or translated "embrace" Collection unites the enduring beauty of solid carved marble with a language of form that pays homage to primitive struc...

Aro dining table by Atra Design Limites Edition of 5 Dimensions: D 280 x W 110 x H 73.6 cm Materials: Taj Mahal marble, brass Atra Design We are Atra, a furniture brand produced by Atra form...

Columns Dining Table with Portobello Italian Marble Base & Crystal Made in Spain Elevate the style of your dining room with our exclusive dining table, a perfect combination of luxur...

Inspired by the feeling of weightlessness and its connection to the space, crafted entirely in laminated stone. This advanced technique allows us to get an ultra-thin and high resis...

OUR MOST COVETED COLLECTION AND MODERN TWIST ON AN ANCIENT ROMAN CLASSIC. RECENTLY REFRESHED WITH A MORE PLAYFUL AND ROBUST PROFILE. DIMENSIONS: 48”L x 48”W x 30”H: - 2.25" THICK T...

‘LAGO’, ITALIAN FOR ‘LAKE’, HAS INSPIRED A FORM DERIVED FROM NATURE, TEXTURED WITH LUXURIOUS STONES AND METALS. THE COLLECTION ENCOURAGES NESTING AND LAYERING IN ITS AVAILABLE FORMS....

Slices XL Dining Table by Patricia Bustos de la Torre Dimensions: D 120 x W 234 x H 75 cm. Materials: Concrete, glass and brass. Slices dining table’s versatility can be expressed i...

OUR MOST COVETED COLLECTION AND MODERN TWIST ON AN ANCIENT ROMAN CLASSIC. RECENTLY REFRESHED WITH A MORE PLAYFUL AND ROBUST PROFILE. DIMENSIONS: 36”L x 36”W x 30”H: - 2.25" THICK T...

The Simone is a whimsical modern dining table. The top is made from an elegant thin rectangular stone slab. Each of the four legs is positioned directly below a corner of the top. ...

Round basket table, a unique Carrara marble and teakwood dining table designed in different sizes either for a more intimate conversation or for ...

‘LAGO’, ITALIAN FOR ‘LAKE’, HAS INSPIRED A FORM DERIVED FROM NATURE, TEXTURED WITH LUXURIOUS STONES AND METALS. THE COLLECTION ENCOURAGES NESTING AND LAYERING IN ITS AVAILABLE FORMS....

Italian Pietre Dure handcrafted inlay stone table with ornamental flower decorations handcrafted from blue lapis lazuli, green malachite and other ...

Circular table designed and produced by L.A. Studio. Made of Carrara and Calacatta Viola marble. Our main target is customer satisfaction, so we include in the price for this item ...

This family of products makes a bold statement with its generous cylindrical foot, connecting its structural perimeter while delimiting the objects that compose it. The distinctive m...

Grey Saint Laurent contemporary oval marble dining table 290/75 For 12 people Dimensions: W 290 x D 160 x H 75 cm. Materials: Grey Saint Laurent marble. The collection consists of a...

Large Black Marble "Sunday" dining table - Jean-Baptiste Souletie Dimensions: 200 W x 50 D x 74.5 H cm Materials: Black Marquina marble. Different finishes and sizes are available...

White Marble "Mewoma" dinner table, Jonah Takagi Dimensions: 150 diameter x 74 height cm Materials: Pele de Tigre marble, metal, wood Different finishes and sizes are available. ...

Perseo Marble Dining Table by Barberini & Gunnell Limited Edition of 30 Dimensions: D 175 x W 175 x H 75 cm. Materials: Marble, mirror polished stainless steel. Limited Edition, sig...

SIMPLISTIC YET MUSCULAR FORMS INFLUENCED BY POST MODERN ITALIAN DESIGN. DIMENSIONS: 54”L x 54”W x 30”H: - 1.5" THICK TABLE TOP - 15”Ø SOLID BASE WITH 1.5" THICK LEDGE ON TOP WITH ...

Marble "Planalto" coffee table - Giorgio Bonaguro Dimensions: D 120 x W 80 x H 35 cm Materials: Stardust marble, burnished metal Available in other marbles and metal finishes. ...

Late 20th century dining table with two Mactan stone pedestal bases and glass top. Each Pedestal H 30" x W 19" x D 9.5".

OUR MOST COVETED COLLECTION AND MODERN TWIST ON AN ANCIENT ROMAN CLASSIC. RECENTLY REFRESHED WITH A MORE PLAYFUL AND ROBUST PROFILE. DIMENSIONS: 96”L x 42”W x 30”H: - 2.25" THICK T...

Marble "Sunday" dining table - Jean-Baptiste Souletie Dimensions: 150 W x 50 D x 74.5 H cm Materials: Marble Different finishes and sizes are available Sunday is a family of di...

‘LAGO’, ITALIAN FOR ‘LAKE’, HAS INSPIRED A FORM DERIVED FROM NATURE, TEXTURED WITH LUXURIOUS STONES AND METALS. THE COLLECTION ENCOURAGES NESTING AND LAYERING IN ITS AVAILABLE FORMS....

Marble "Delos" dining table - Giorgio Bonaguro Dimensions: H 74 x D 120 x W 240 cm Materials: Calacatta oro marble, satin brass Available in other marbles and metal finishes. C...

OUR MOST COVETED COLLECTION AND MODERN TWIST ON AN ANCIENT ROMAN CLASSIC. RECENTLY REFRESHED WITH A MORE PLAYFUL AND ROBUST PROFILE. DIMENSIONS: 96”L x 42”W x 30”H: - 2.25" THICK T...

OUR MOST COVETED COLLECTION AND MODERN TWIST ON AN ANCIENT ROMAN CLASSIC. RECENTLY REFRESHED WITH A MORE PLAYFUL AND ROBUST PROFILE. DIMENSIONS: 96”L x 42”W x 30”H: - 2.25" THICK T...

Sculptural Kaa Buffet Table – Playful Blue Concrete by Mary-Lynn & Carlo Dimensions: 200 x D 50 x H 92 cm. Materials: concrete colored, foam polystyrene Finish: water, stains repelle...

MONOLITHIC FORMS SOFTENED BY GENTLE EDGES. WITH ITS BOLD MARBLE PATTERNS CUBO IS AS VERSATILE AS IT IS STRIKING. DIMENSIONS: 120”L x 50”W x 30”H: - 118”L x 48”W x 1.5” THICK TABLET...