Walnut Dining Room Tables

Black lacquer one leaf x base gibbings trestle dining table by Widdicomb Mint!. one table leaf measuring 20 inches across.

Lane perception midcentury walnut expanding dining table with 2 leaves. This table measures: 42 wide x 42 deep x 29 high, with a chair clearance of 25.25 inches, each leaf measure...

Giovanni Michelucci Walnut Dining Room Table for Poltronova, Italy, 1964 This beautiful Torbecchia Walnut dining room table was designed in 1964 by Giovanni Michelucci for Poltron...

Dining table, walnut, bronze, brass, Italy, 1950s Hailing from a skilled artisan of Italy, this dining table epitomizes excellence in its form, material use, composition, and crafts...

Versatile extension table which opens both ways but we have no extensions/ leafs. Walnut base with a faux wood laminate top. Top has some wear from normal use. Base and apron were re...

An exceptional Mid-Century Modern extension dining table By Edward Wormley for Dunbar Furniture USA, 1950s Book-matched walnut top, with ebonized walnut banding and legs. ...

Giovanni Michelucci Walnut Dining Room Table for Poltronova, Italy, 1964 This beautiful Torbecchia Walnut dining room table was designed in 1964 by Giovanni Michelucci for Poltron...

Iconic dining table and six dining chairs by Osvaldo Borsani and Eugenio Gerli for TECNO, Italy, circa 1960. Four chairs have galvanized metal details and two chairs have brass detai...

An extremely rare design by Mario Bellini for Cassina. The La Corte dining table was only produced in very limited numbers. After the famous exhibition ‘Italy: The New Domestic Lands...

This gorgeous midcentury table is incredibly practical. Because of its dimensions and purposeful design, it can serve as a dining table, a conference table, or as a majestic desk. The oval top, which is 1, 1/4 inch thick, has many alluring design elements, including a starburst pattern to the inlaid walnut top. The edge treatment includes an solid walnut bullnose tip crowning a knife-edge profile, as seen in the iconic designs by Florence Knoll. The base consists of a thick column supported by four splayed legs having levelling pods at the end of each. The base is constructed of steel and has a bronzed finish. Both the brass and paper manufacturer labels are intact on the underside of the top. There is a warm patina to the original finish on the walnut top. There are a few hard-to-see blemishes. And there is minor oxidation to the base. The table is quite heavy, but the design of the splayed legs more than adequately supports the expansive surface. So, no wobbling. You will love the original condition of this vintage and classic...

Charis is the Greek word for grace. A dinner table is a place of grace, where we gift each other with food, conversation, and family. This table features a solid walnut top gracefull...

Modern wood dining table - 0116 This modern wood dining table is made in the heart of Ohio with locally sourced wood. We use the table both...

An exceptional Mid-Century Modern black lacquered walnut extension dining table By John Van Koert for Drexel, "Profile" Collection USA, 1958 Measures: 62"W x 40"D x 29.5"H. ...

Silvio Coppola design walnut dining table for Bernini, Italy. Post modern table with interesting architectural bases on rounded splayed legs. Made with book matched walnut veneer on ...

Drexel Dateline mid century walnut dining table The table measures: 24 wide x 24 deep x 29.5 high, with a chair clearance of 23.5 inches All piec...

2 - 12 inch leaves for a total length of 68 inches extended.

Kipp Stewart for Drexel declaration mid century walnut dining table This table measures: 60.5 wide x 40 deep x 29.5 high, with a chair clearance of 26 inches All pieces of furn...

Light Walnut American Mid-Century Modern Boat Shape Dining Table 3 Leaves MINT! Three leaves measuring 12 inches across each Total length of table with leaves equals 97.5 inches.

This Mid-Century Modern dining table features drop leaf design, durable formica top with faux woodgrain, two additional leafs, and tall tapered legs.??Complimentary dining chairs ava...

A classic of Italian design from the 1960s. Round table model T69 with wood top, rare, production Tecno designers Osvaldo Borsani & Eugenio Gerli. The particularity of T69 is the str...

A vintage dining or conference table or a desk. Beautiful Knoll top made of American Walnut on a Herman Miller aluminum segmented base. We have 8 available.  

Round dining table designed by Benjamin Cherner. U.S.A., Cherner, 2003. The top is made of cross-ply plywood featuring classic walnut veneer with a tapered profiled exposed edge. ...

The unusual feature of this table is the solid wooden top. This graceful table by Italian architect and designer Franco Albini was designed in 1951. The model, known as 'TL2', is ma...

Jens Risom midcentury Dining Table Walnut with 3 Legs This dining table measures: 48 wide x 48 deep x 28.75 high, with a chair clearance of 27.25 inches All pieces of furniture...

Handcrafted from solid Walnut, this web-leg dining table is a statement in Craft and design. It's hand carved legs offer an incredible sense of movement and the tapered profile of the table top makes it appear to almost be floating in space. This table is the epitome of an inspired midcentury aesthetic and fits well within many different interior designs. Each table is built-to-order at my shop in Seneca, IL and can be customized in Size and wood species to fit any space. The completed piece, when set in your interior, will become not only the centerpiece, but the heart of the home.

Beautiful vintage walnut model 1135-T dining table designed by Adrian Pearsall for Craft Associates, Inc. in the United States, circa 1960s. This table has been built from the highes...

An absolutely stunning double pedestal dining table. The table sits on original brass castors and has a brass plate on each of the 6 sprawling feet. Table has one leaf and can easily...

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...

Elegant dining table designed by Osvaldo Borsani, a truly important piece and a great example of 1950s Italian design. Its structure is characterized by a uniquely shaped design, fin...

Blowing rock mid-century walnut dining table This table measures: 60 wide x 42 deep x 30 inches high, with a chair clearance of 26 inches All pieces...

Back-painted glass, brass, walnut. Can easily be used as a dining, entry, or writing table. A rare model.

Broyhill Brasilia walnut extendable dining table with one leaf. A truly iconic design for any Mid century home. Length with leaf: 72 L.

Mid-century modern, walnut, draw-leaf, extension dining table by Jens Risom features two 16 inch leaves that extend the table to 72 inches wide. The leaves tuck underneath the table ...

Broyhill Saga mid century dining walnut surfboard dining table Table measures: 50 wide x 36 deep x 30.5 inches high; the leaf is 12 inch...

John Stuart two tone leaves Mid-Century Modern rectangle dining table MINT! two leaves, each measuring 18 inches across, the table measures 98 inches total with leaves.

Ebonized black lacquer mahogany floating cork top dining writing library table mint!

Elegant Mid-Century Modern dining table designed by T.H. Robsjohn-Gibbings for Widdicomb Furniture Co. The table features two 18 inch leaves that extend the top from 44.5 inches round to an oval or race track form measuring 80.5 inches wide. Crafted from walnut with a dark rich finish. The top is supported by a column with four gracefully curved legs. The top has a beveled edge with matching leaves. Matching chairs also available. From a historic Napa Valley Winery...

Franco Albini for Poggi table or desk, Italy, 1960s Walnut table TL22 model by Franco Albini for Poggi Italy 1960s. It is in excellent condition, with a minor patina on the wood parts. This unique table or desk would be an eye-catching addition to any interior, such as a living room, family room, screening room, or office. It also perfectly fits in a hospitality or corporate location like a boutique hotel lobby or luxury loft. When you choose for used mid...

Milo Baughman style dining table, walnut lacquered veneer with pedestal base 71.50" in length with two 18" leaves expands to 107.50" i...

Measures: W48 D47.5 H30 KC28.5 Reimagined walnut slab compact dining table. Surface was salvaged, refinished and inlay was added to help struct...

A sleek and stylish Mid-Century Modern black lacquered extension dining table By John Van Koert for Drexel, "Counterpoint" Collection USA, 1956 Measures: 54"W x 36"D x 29.75...

Knoll International dining / conference table designed by Florence Knoll, walnut, chrome, table model 580, produced from 1958-1976. Large dining table with boat shaped top const...

Exceptional dining, or conference table, having a thick solid walnut top, which is supported by a bright chrome pedestal base with four chrome legs which radiate from the center pole...

Agarico table with a walnut veneer top and aluminium base. Designed in Italy in 1960. Its simplistic design brings to light the masterpiece of brilliant craftsmanship and can complem...

Elegant mid century dining table, designed by T. H. Robsjohn-Gibbings for Widdicomb, American, circa 1950s. Clean lined design with elegant splayed legs. It expands from 58-78" width...

Mid-Century Modern surfboard walnut 60" dining table by Broyhill Offered is a vintage Mid-Century Modern dining table, desig...

Made in Italy, 1950s. Mod. 522 designed by Gianfranco Frattini and produced by Bernini. It is a vintage piece, therefore it might show slight traces of use, but it can be considere...

Square walnut table, model 612, designed by Silvio Coppola in 1964. Manufactured by Bernini in Italy. Extendable into a large dining table. Literature: G. Gramigna, Repertorio del Design Italiano...

Mid Century Expanding Walnut Dining Table with 2 Leaves This table measures: 66 wide x 42 deep x 30 high, with a chair clearance of 26...

Martin Visser inspired midcentury center or dining table with pedestal black enameled base and walnut hexagon top. The striking shape of the top is also reminiscent of Charlotte Perr...

Mid-Century Modern solid bronze square profile two extension boards walnut top dining table mint! Very unusual vintage circa 1970s table. Possibly custom design very much in style o...

Danish Mid-Century Modern walnut drop leaf dining table w/ extension leaf mint! Side leaves measure: 17 inches across. Center leaf measures: 20 inches across.

Single Pedestal One Leaf Oval Banded Dining Table 8 Regency Chairs Set MINT! DIMENSIONS table: 52 x 84 × 30 leaf: 1 × 22 chair: 21 x 21 × 34 seat height: 21 one table and one lea...

Beautiful table designed by the famous Italian Mid-Century Modern designer Vittorio Dassi, 1950. The exceptional woodwork is highlighted by the curved green glass top and the rounde...

An exceptional Mid-Century Modern extension dining table By Bert England for Johnson Furniture USA, 1950s Gorgeous inlaid walnut patchwork parquetry top, with tapered solid ...

Harvey Probber mid century round ebonized walnut, terrazzo, and brass dining table The table measures: 50 wide x 50 deep x 24.5 high, with a chair clearance of 23.25 inches Re...

“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...

Italian modern dining table, designed by Bertha Schaefer for Singer and Sons, Italy, circa 1950s. This table is currently being refinished ...