Italian Dining Room Tables

Square table by Pierre Cardin for Roche Bobois, 1970s. Black lacquered wood structure, glass top, various woods borders. It can be exten...

Designed in the 1960s by Eugenio Gerli and Osvaldo Borsani, two heavyweights of Italian Mid-Century Modern design, the T69 is a table with a strong visual identity: its elegant curve...

Stefano Giovannoni designs Frame for Ghidini1961, a new collection composed of sofas, armchairs, dining and coffee tables, bookshelves and cabinets. Everything starts from a simple e...

Angelo Mangiarotti SIGNED round pedestal dining table in highly figured white Carrara marble. This table is from the M1 and measures 53 inches diameter. The detachable round table t...

Sicis is delighted to welcome you at ‘Home’. The classically inspired extent in contemporary plays an eclectic style, elegant and refined. Interiors express personality. A constant r...

An extremely interesting ash and bleached walnut console table with a free-form cut-out in the tabletop revealing a unique stretcher syst...

Futurist dining or conference table with a light walnut top. Designed by Norman Foster for Tecno. Italy around 2000.

handmade in Italy.

Long table torsade with solid ebony wood top, handcrafted bronze structure. Available in L 300 x D 130 x H 75cm, price: 22950.00€. Available with solid oak top, price: 22500,00€.

Teak dining table by Ilmari Tapiovaara for La Permanente Cantù, 1960s.

Round table from the 1950s, Italy, made of ash wood. Design in the style of Gio Ponti. Four legs with brass socks. Slight marks on wood on the feet.

Oval dining table, stained and French polished beech wood, original false marble back painted glass. Italy, 1945-50.

Table Trooper Outdoor or Indoor with structure in solid natural teak, with brown emperador polished marble top. Wood treated with natural pine extracts. Also available in Trooper...

A striking design of minimalist inspiration, this round dining table will make for a timeless addition to a contemporary interior decor. Handmade of lacqu...

Mid-Century Modern Italian six legs green and black round table by Umberto Mascagni. The top of the table is in faux leather covered with glass and comes with its protective green c...

"Rocco" Desk/Table in massive wood with a beautiful construction, on both legs and top. Designed by Roberto Pamio for Peguri in 1969. Italian production of the late Sixties, it reme...

This 1970's production Il Colonnato dining table is crafted from beautiful solid travertine, showcasing the timeless elegance of this natural stone. The tabletop features its origina...

Dining table stars with lacquered solid wood top and bronze base with stainless steel inside.

A solid block of walnut held up by what seems to be a casually arranged group of glittering legs. A composite of contrasting elements, massive and sophisticated, strong and passionate; Il Pezzo 6...

Wonderful organic shaped walnut base and silvered glass top. I was not able to get a good picture of the top.

Chained Up Dining Table by Barberini & Gunnell Limited Edition of 15 Dimensions: D 120 x W 320 x H 76 cm. Materials: Solid wood. The inspiration for this table came from observing t...

Rectangular table in Brazilian rosewood satin finish with Italian walnut inlay top with 2 extension of cm. 48 (19”) each. Brushed steel accents on the base. Art Deco Size 78’’ ½ W ...

Family of tables characterized by the elegant sophisticated metal structure supporting the glass tabletop. Inspiration from turn of the century outdoor furniture...

The Stella Dining Table has a sculptural presence that joins the flat planes of a round top with the curves of an undulating base in intriguing ways. Design...

The vision of Dale Italia creations comes through the Convivio solid wood table. The mix of contemporary and classic lines creates a unique and timeless piece. This round table is av...

A vintage Charles Hollis Jones Designed dining table from the 1960s. The artist himself identified and authenticated this piece. Glass is newer. In good condition with some minor mar...

This distinctive dining table is a representative of the Italian Brutalismo style of the early 1970s and yet offers a graceful facet. It has a metal framed black wooden plate which r...

Custom Round White Marble Top Dining Table. Beautiful Italian marble with hand crafted pedestal. Featuring clean contemporar...

Family of tables characterized by the elegant sophisticated metal structure supporting the glass tabletop. Inspiration from turn of century outdoor furniture...

This beautiful cerused oak dining table was designed by Italian mid-century modern designer Tommaso Barbi in the 1970s. The top features a nice brass inlay frame, with a round raised...

White Roman travertine bistro table by Le Lampade. Round travertine top supported by a travertine column shaped base. These tables can be custom made.

In finely hand carved three-legged solid walnut. Small plate band covered with walnut veneer with frame. Liguria, First half '800 Dimensions: Diameter 143 Height 78 cm circa.

Italian modern white marble dining table Rilievo by Aldo Rossi, 1980s Dining table model Rilievo with rectangular top in white Calacatta marble with gray streaks. The table has four ...

Scroll down and click "view all from Seller" to see more than 400 other unique products. (1.8) Boss executive wood and cement round dining table...

Italian mid-century (1950s) walnut & maple dining table with a green free-form marble base supporting 2 carved pedestal bases with relief scene under a blue glass top (Attributed to ...

Stunning so called 'II Colonnato' dining table designed by Mario Bellini and manufactured by Cassina in Italy in 1977. It's made from solid Persian travertine, which has a beautiful ...

Round table with 10 mm-thick tempered transparent, smoked or bronze glass top. Chromed or burnished brass finish legs; stainless steel or brass fixing plates. The Epsylon table is al...

TI01 Birch Dining Table by Togigi Dimensions: D 100 x W 260 x H 78 cm. Materials: Birch. Available in Thermal Spray Zinc, walnut, and birch finishes. Customization is available. Ple...

Mid-Century Modern extendable dining table by Vittorio Dassi, Teak, Italy, 1950s Measures: W : 159.5 cm to 219.5 cm.

Oval Grissinato Edge Table with Green Alpi Marble Top from Premuda, Lissone, Milan Brianza, 1940s. A prestigious Art Deco table: a large oval base supports a generously thick top wi...

Dining Table Eva Round with solid brass base in bronze finish and with table top in wood in ebony veneer with varnished finish. Also available on request with emperador dark marble ...

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...

Cast bronze sculptural legs, with varnished walnut top. Literature: Casa Amica, 17 April 1973, p. 73.

Dining table with structure in polished stainless steel with black glass top. Legs covered with capitonated black genuine leather (Cat C). Available in: L201,2xD112,2xH76,3cm, price...

All the splendor of the French style in the Boulevard collection, featuring the presence of hand-made carvings, embellished with gold leaf finishing. The protagonist is frisée maple ...

Art deco table The base with 4 carved "onion" feet, carry an ebonized pine cone on top. The base worked with shaped waves obtained by carving on solid wood of generous thickness then...

Stefano Giovannoni designs Frame for Ghidini1961, a new collection composed of sofas, armchairs, dining and coffee tables, bookshelves and cabinets. Everything starts from a simple e...

Mid-Century Guglielmo Ulrich brown wooden dining table, cherry wood and glass, Italy, 1950s.

Sculptural dining table model 'Acanto' by Enzo Mari (Novara 1932 - Milan 2020) for Zanotta, Italy 1990. The design immediately catches the eye due to the asymmetrical sculptural base...

FRATE TABLE Table 180x78 cm , belonging to the Frate collection, made with a painted steel profile structure connected by a solid wood beam. Rectangular top in 12 mm thick tempered g...

A large solid oak planked dining table with patinated brass frame and steel legs. B.B. - I love the reclaimed century old oak planks in combi...

Marco Zanuso, by. Zanotta, edited by. Dining table. Round top in white marble, resting on a five-column base, the columns screwing to the top and ending in a decorative circle of...

Stefano Giovannoni designs Frame for Ghidini1961, a new collection composed of sofas, armchairs, dining and coffee tables, bookshelves and cabinets. Everything starts from a simple e...

Beautiful and inventive table designed by the Italian Romeo Rega made with brass and black lacquer from the 1970s. High quality materials, gilted brass cross structure and black lac...

Italian antique wooden dining table with one drawer and brass handle, 1800s Rectangular dining table entirely in wood. It features a centr...

Extraordinary massive mahogany table in the style of Paolo Buffa. Decorations and finishes in gold. Glass shelf.

For FULL item description click on More Details below. Shipping Quote Information The shipping quote stated in the listing was from 1st Dibs and they normally set all the costs and ...

OAK structure dining table with rounded edges wooden top and rounded legs. Connective metal frame in chrome or black finish. Presented in Black Oak open pore, mat finish and polished...

Mid-Century Italian Glass Top Trestle Table H: 76 cm (29 15/16") W: 156 cm (61 7/16") D: 89 cm (35 1/16") 1970's Italian trestle table with plate glass top. Great as a desk, serving...

Angelo Mangiarotti’s (1921 – 2012) work as an architect and industrial designer was led by a belief that carefully respecting a material’s characteristics was imperative to developin...