Walnut Dining Room Tables

Walnut large brackton dining table by Hollis & Morris Dimensions: 102" x 42" x H 29.5" Materials: Solid wood. Cold rolled steel. Hardwax oil, powder-coated metal. Also available ...

Walnut small Brockton dining table by Hollis & Morris Dimensions: 84" x 36" x H 29.5" Materials: Solid wood. Cold rolled steel. Hard wax oil, powder-coated metal. Also available i...

Walnut large brockton dining table by Hollis & Morris Dimensions: Diameter 48" x height 29.5" Materials: Solid wood. Cold rolled steel. Hardwax oil, powder-coated metal. Also av...

Walnut small Brockton dining table by Hollis & Morris Dimensions: diameter 42" x height 29.5" Materials: Solid wood. Cold rolled steel. Hard wax oil, powder-coated metal. Also ava...

The Masai Dining Table is adorned with a mesmerizing giraffe inlay on the top and a solid mahogany frame, bringing a touch of the wild into your dining space. The giraffe finish adds...

Walnut small pier dining table by Hollis & Morris Dimensions: 84" x 36 x H 29.5" Materials: Solid wood. Cold rolled steel. Hardwax oil, powder-coated metal. Also available in nat...

Gorgeous old walnut roots. Authentic texture and character of the walnut vein. Hand leveled, cleaned and filled with a black opaque resin that blends perfectly with the nut roots. Ex...

Marble "Sunday" dining table, Jean-Baptiste Souletie. Dimensions: 200 W x 100 D x 74.5 H cm. Materials: marble Different finishes and sizes are available Sunday is a family of ...

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...

Large walnut and black marble "Sunday" dining table - Jean-Baptiste Souletie Dimensions: 200 W x 50 D x 74.5 H cm Materials: Black Marquina marble legs, walnut wood top. Different...

Large Walnut and Black Marble "Sunday" dining table - Jean-Baptiste Souletie Dimensions: 200 W x 50 D x 74.5 H cm Materials: Black Marquina marble legs, walnut wood top. Different...

Xlarge walnut and green marble "Sunday" dining table, Jean-Baptiste Souletie. Dimensions: 200 W x 100 D x 74.5 H cm. Materials: Indian green marble legs, walnut wood top. Differen...

X large walnut and 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 legs, walnut wood top. D...

X large walnut and black marble "sunday" dining table, Jean-Baptiste Souletie. Dimensions: 200 W x 100 D x 74.5 H cm. Materials: black marquina marble legs, walnut wood top. Diffe...

Medium Walnut and White Marble "Sunday" dining table, Jean-Baptiste Souletie Dimensions: 150 W x 100 D x 74.5 H cm Materials: white Pele de Tigre marble legs, walnut wood top. Dif...

Medium walnut and green marble "Sunday" dining table, Jean-Baptiste Souletie Dimensions: 150 W x 100 D x 74.5 H cm Materials: Indian Green marble legs, walnut wood top. Different ...

The Lake Tahoe table is a testament to fine Craft. Designed around the principles of handcut joinery, such as large bridle joints and butterfly keys, the table's simple form highlights both the wood selection and skilled craftsmanship. The table top is created from a pair of book-matched walnut slabs which are "stitched" together with a series of large butterfly keys. A plethora of other butterfly keys span the many cracks and crevices in the table's top both stabilizing these weak spots and also highlighting them as a feature of the table. The table's base is equally as beautiful as its top. The trestle-style base is simply a pair of trapezoidal legs spanned by an arcing stretcher. The shallow curves on both the top and bottom of the legs create a sense of movement to the design and help guide your eye across the structure. The Lake Tahoe table is a perfect dining table for both the rustic...

Marble "Sunday" dining table, Jean-Baptiste Souletie Dimensions: 150 W x 100 D x 74.5 H cm Materials: Marble Different finishes and sizes are available Sunday is a family of di...

"Magnum" walnut dinner table, Pierre Favresse Dimensions: D 150 x W 90 x H 73 cm Materials: walnut wood, metal Available in 2 sizes: L150cm, L200cm. Magnum is a dinner table. T...

Large "Magnum" walnut dinner table, Pierre Favresse Dimensions: D 200 x W 90 x H 73 cm Materials: walnut wood, metal Available in 2 sizes: L150cm, L200cm. Magnum is a dinner ta...

Marble "Sunday" dining table - Jean-Baptiste Souletie Dimensions: 200 W x 50 D x 74.5 H cm Materials: marble, walnut Different finishes and sizes are available Sunday is a fam...

Large walnut and green marble "Sunday" dining table - Jean-Baptiste Souletie Dimensions: 200 W x 50 D x 74.5 H cm Materials: Indian Green marble legs, walnut wood top. Different f...

Small Walnut and Black Marble "Sunday" dining table - Jean-Baptiste Souletie Dimensions: 150 W x 50 D x 74.5 H cm Materials: Black Marquina marble legs, walnut wood top. Different...

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...

Medium walnut and black marble "Sunday" dining table, Jean-Baptiste Souletie. Dimensions: 150 W x 100 D x 74.5 H cm. Materials: black Marquina marble legs, walnut wood top. Differ...

Small walnut and green marble "Sunday" dining table - Jean-Baptiste Souletie Dimensions: 150 W x 50 D x 74.5 H cm Materials: Indian Green marble legs, walnut wood top. Different f...

Small walnut and white marble "Sunday" dining table - Jean-Baptiste Souletie Dimensions: 150 W x 50 D x 74.5 H cm Materials: white Pele de Tigre marble legs, walnut wood top. Diff...

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. ...

PLUSH dining table, oval, 340 cm. Solid wood table top and legs. Handmade in Denmark. Signed by Jacob Plejdrup for DK3 Table's height: 72 or 74 cm Table top’s thickness: 30-40...

An exceptional French Provincial Louis XV style extension dining table By John Widdicomb USA, Circa 1980s Gorgeous book-matched figured walnut, with carved solid walnut cabr...

Industrial and Refined; these two words properly describe the Menlo Table. With a top of beautiful Walnut resting upon an pair of solid steel legs, this simple design fits well in an...

A profound dining table from the noteworthy Stately Homes Collection by Baker Furniture, circa 1980s. Drawing inspiration from English Chippendale and Queen Anne Styling. The tab...

GM 7700 is an elegant table with clean lines and advanced details. The exclusive material Corian is combined with wood which forms a beautiful contrast – consistent with the Scandina...

Round boomerang dining table by Arturo Verástegui Dimensions: D 150 x H 75 cm Materials: walnut wood. Round dining table made of walnut. Arturo Verástegui has been the direct...

Unique GB302 “T” table sculpted by Gregory Beson Unique Dimensions: L 105" x W 34" x H 29" inch Materials: Walnut with Polyurethane Finish Custom finishes, wood speces and di...

Boomerang dining table by Arturo Verástegui Dimensions: D 220 x W 120 x H 75 cm Materials: walnut wood. Rectangular dining table made of walnut. Arturo Verástegui has been th...

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...

Gorgeous old walnut roots. Authentic texture and character of the walnut vein. Hand leveled, cleaned and filled with a black opaque resin that blends perfectly with the nut roots. Ex...

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.

Solid walnut circular dining table with piramid circular pedestal. Natural walnut finish with a coat of clear lacquer for protection.

PLUSH dining table, oval, 240 cm. Solid wood table top and legs. Handmade in Denmark. Signed by Jacob Plejdrup for DK3 Table's height: 72 or 74 cm Table top’s thickness: 30-40...

Afra & Tobia Scarpa for Maxalto, 'Artona' dining table, walnut, walnut burl, lacquered wood, brass, ebony, Italy, 1975/1979 This table was designed by Afra & Tobia Scarpa within th...

The Hawk dining table has been designed by our Uultis Design team with a walnut finish veneered table, the perfect addition to any dining room. It is a sophisticated table for modern...

Drake Woodworking's "Hayden Dining Table" is a statement in design and craft. Hand-made from five distinct Claro Walnut slabs, the table's top is a p...

Grimm sculptured table by Hugo Lugo. Dimensions: D 170 x W 51 x H 85 cm. Materials: walnut wood, gold leaf. Table made of walnut and gold leaf. He has a degree in Visual Arts...

Diamond dining table by Vasco Vieira Dimensions: W 300 x D 100 x H 75 cm Materials: American walnut 100% solid wood Variations available. Please contact us. Around the Tree Th...

PLUSH dining table, oval, 270 cm. Solid wood table top and legs. Handmade in Denmark. Signed by Jacob Plejdrup for DK3 Table's height: 72 or 74 cm Table top’s thickness: 30-40...

Semi is a Nordic-inspired dining table made entirely out of wood where the beautiful veins are allowed to unfold along the solid tabletop. GM Semi is a table with a simple and ele...

Unique round yaprak dining table by Ekin Varon Dimensions: D 140 x 75 H Materials: walnut, maple, oak Custom materials, sizing and finishes available as item is made to order. ...

Sculptural dining table featuring a single slab claro walnut top with cast bronze inlay and bowtie. The base is made from stacked Claro, English, Bastogne, and black walnut.

Walnut Minimalist 400 dining table Dimensions: W 250 x D 100 x H 75 cm Materials: American walnut 100% solid wood Dimensions available: 160, 200, 250, 300, 350, 400 cm   R...

The Mahayana White Oak Table is a testament to the timeless tradition of hand-made craftsmanship. Made from premium white oak and walnut, this exq...

Evermore dining table walnut 190 by Warm Nordic Dimensions: D190 x W95 x H74 cm Material: Oiled solid walnut and veneer Weight: 51 kg Also available in different colors and dimen...

PLUSH dining table, oval, 200 cm. Solid wood table top and legs. Handmade in Denmark. Signed by Jacob Plejdrup for DK3 Table's height: 72 or 74 cm Table top’s thickness: 30-40...

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...

I have always been fascinated by the changing times in world history. The normal climate was replaced by an ice age and then normalized again. Peace was followed by war and war was f...

The Natur collection is a stunning representation of organic forms and a deep connection with the outside world. It features minimalist designs with freedom of lines that evoke a sen...

Evermore dining table walnut 160 by Warm Nordic Dimensions: D160 x W85 x H74 cm Material: Oiled solid walnut and veneer. Weight: 41 kg Also available in different colors and dime...