Italian Dining Room Tables

Afra & Tobia Scarpa for B&B Italia, 'Polygonon' model dining or meeting table, glass, electro-coated stainless steel, Italy, 1984 This stunning table designed by the Italian master ...

Dining table umbra with solid walnut wood top with 3 slats with middle gaps and with natural edges, with lacquered iron base. Also available on request with solid oak top. Also...

Made in Italy, this metal and glass table was imagined by designer and architect, Norman Foster, a premiere force in high-tech design. A network ...

A Mid-Century arched chrome and brass table base attributed to Romeo Rega. This base can be used for a console table, or a dining table as it can support a large glass top. This base...

The dinner table by Gianfranco Frattini from Gavina Italy 1970s. Tavolo in acciaio di Gianfranco Frattini per Gavina. La linea della base...

The Laghi dining table is the successor to the Laghi coffee tables. Leaving straight lines and regularity behind, the Laghi dining table is a dramat...

Large Quaderna console table by Superstudio for Zanotta, Italy, 1970s.

Dining table in lacquered metal, suitable for indoor and outdoor use. This table has a pleated sculptural base inspired by the world of fashion and the iconic pleated work of the 50...

Ellipse Table, Colorama Collection Design by Matteo Zorzenon for Scapin Collezioni Ellipse is a table which, thanks to its elegant and soft shapes, unites people gathered around the table. A large oval top...

Dining table Ripling with solid walnut top with straight edges, wood treated with natural pine extracts wax. Base in iron in lacquered finish. Also available on request with solid...

The shapes of dining table Spinnaker take inspiration from elegance and lightness of the sails of the boats that are unfurled to the wind during the sailing. The is cut into four curved decorative parts following the structural base with two arches that recall the typical geometry of architecture of the Thirties. The melted bronze parts...

Designed by Shannon Sadler, it is a solemn table with a strong visual impact, Podium captures attention for its sinuous but austere lines. The top lays on a solid and elegant concret...

Franco Poli Table “Cangrande” in Walnut for Bernini, Italy 1970s A superb solid walnut wood table with a lovely beveled crystal top with sandblasted frosted bands by Italian designe...

Rare sculptural chrome and brass dining table by Romeo Rega for Metalarte, Italy 1970's In excellent near original condition. It may show minimal traces of use.

Officina Ciani brings together the rustic quality of stainless steel with the modern elegance of Carrara marble to create a table that feels at home no matter where it's placed. A ve...

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...

"Reflective Collection" round table by Sebastiano Bottos will surprise you with the unexpected luminescence of high-visibility surfaces, an exclusive by Bottos Design Italia...

To remember: dining table in dark walnut and top in Italian bronzed glass in the Ico Parisi style of the 50s. The table has a beautiful sculptural shape. The table has been polished ...

1970s Angelo Mangiarotti white Carrara marble dining table for Skipper, Italy. Design: Angelo Mangiarotti Manufacturer: Skipper, Italy 1970s Sculptural and monumental dining t...

GEM coffee-dining-console tables Combining contemporary modern style with details inspired by our glass tradition, Sabrina Landini GEM tables reinterpret our legendary links into ...

Table designed by Pierre Jeanneret circa 1950, relaunched in 2019. Manufactured by Cassina in Italy. The inclusion of the UNESCO World Heritage List in 2016 has aroused great intere...

Designed by Pocci&Dondoli, it represents a connection to the future, a piece of art enriching our rooms, a distinctive and uniform design, an elegant and valuable master in every hom...

The Laghi dining table is the successor to the Laghi coffee tables. Leaving straight lines and regularity behind, the Laghi dining table is a dramat...

The Sentiero extendable table in solid wood is the expression of contemporary design and high quality Italian craftsmanship. Rectangular in shape, it features structure and legs in p...

Art Deco table, the base with 2 continuous shelves forming a u are cubist in style and support the central body in rosewood briar. The top of generous thickness is made of rosewood f...

Marble "Planalto" dining table - Giorgio Bonaguro Dimensions: D 110 x W 240 x H 74 cm Materials: Calacatta Oro marble, satin brass Available in other marbles and metal finishes. ...

Nero tubolar table oval by Mentemano Dimensions: W220 x D 100 x H 75 cm Materials: Black base, smoked grey top The project is based on lightness and attention to details. Volume...

Grey spider table by Mentemano Dimensions: W210 x D 100 x H 75 cm Materials: Grey tay dyed The project is based on lightness and attention to details...

Tubolar table by Mentemano Dimensions: W 220 x D 100 x H 75 cm Materials: painted matt brass, smoked grey top The project is based on lightness and attention to details. Volumes...

A massive, 14-16 seater, antiquarian, milanese, renaissance-revival, monastery, trestle table with 10ft long, 4 ¼” thick, single plank walnut top & oak trestl...

The 'Chained Up Reloaded' dining table is an important dining table with structure in rare one-piece slab Iroko (origin: Africa) and table top in crystal glass. Dining table dimension: L 320 x W 120 x H 75 cm. Dimensions are customizable. Limited Edition of 12. Each table is hand signed and numbered by the artists (engraved), 100% handmade in Italy and comes with a “Certificate of Authenticity”. The inspiration for this table came from observing the gigantic iron chains which are used for tying up the enormous container ships...

The Henge table features a lacquered top, supported by two large stone-like plinths. A beautifully detailed bar spans the distance between them and holds t...

Designed by Shannon Sadler, it is a solemn table with a strong visual impact, Podium captures attention for its sinuous but austere lines. The top lays on a solid and elegant concret...

This table embodies the brand philosophy of discovering physical and stylistic lightness in a material that is traditionally regarded as heavy and rough. Fashioned of high-performanc...

Marble "Amazonas" dining table - Giorgio Bonaguro. Dimensions: 74 height x 120 cm diameter. Materials: calacatta oro marble, natural wicker. The "Amazonas" collection designed...

The table 'Bangles Stone' is an important scultural dining table with structure in mirror polished stainless steel and top in Tahiti quartzite (Origin: Brazil).Every single bangle is...

Extendible table (74.8"/94.5"/114.2" x 39.4") with lacquered metal frame and SuperMarble Top and extensions. Manufactured by a old forging machine, a twist of swords is the opulent s...

Designed by Carlo Bimbi, this is a table in which tradition meets up with modernity, the craftsmanship detail featuring the wooden leg and the sinuous steel frame makes it a real “in...

Port Saint Laurent Refined Contemporary marble oval low table 130/27 Dimensions: 130 x 27 cm Materials: Port Saint Laurent Angelo is the essence of...

Butterfly walnut oblong table by SEM Dimensions: D250 x W110 x H78.5 cm Material: Solid natural walnut base and top. Costumized sizes, colors and top ...

Fantastic late 19th century Italian centre table or dining table ornately decorated in the neoclassical taste. Crafted from walnut the round top features intricate marquetry and parq...

Nero tubolar table oval by Mentemano Dimensions: W220 x D 100 x H 75 cm Materials: Black base, smoked grey top The project is based on lightness and attention to details. Volume...

Original design, high craftsmanship production, absolutely made in Italy. The iron becomes thin, the combination of full and empty spaces and the dialogue between materials are enhan...

Designed by Sottsass Associati and produced by Bieffeplast circa 1980’s. The ‘Crossing’ table features a robust black powder coated tubular steel frame, chrome trimmings and toughene...

Merging clean lines with warm materials, the faceted geometry of the MiMi table creates a slender, elegant profile punctuated with painted surfaces that cap...

Valmanara table designed in 1971 by italian architect Carlo Scarpa for Simon International-Gavina. Oak wood with cerused varnish finish.

CALICE dining table by Massimo & Lella Vignelli for Poltrona frau, Italy 1980s Introducing the stunning Glass Dining Table "CALICE" by Massimo & Lella Vignelli for Poltrona Frau, Italy. Crafted with precision and elegance, this dining table is a statement piece that will elevate any dining space. The "CALICE" dining table is a masterclass in modern design. Its sleek glass top is supported by a base made of slim yet sturdy leg, creating a minimalist silhouette that exudes sophistication. The table's transparency allows it to seamlessly blend into any interior, while its unique shape adds a touch of character and charm. Poltrona Frau, the renowned Italian furniture brand, has a legacy of crafting high-quality, timeless designs that stand the test of time. The "CALICE" dining table is no exception. It is made with the finest materials and the utmost attention to detail, ensuring its durability and longevity. The table's glass top is made with tempered glass, which is known for its strength and resistance to breakage. Its base is made of metal. Whether you're hosting a dinner party or enjoying a meal with your family, the Glass Dining Table "CALICE" by Massimo & Lella Vignelli for Poltrona Frau, Italy is the perfect centerpiece for your dining room. With its clean lines, impeccable craftsmanship, and timeless appeal, this table is sure to impress for years to come. FASEM P40...

Travertin chubby table by Arthur Vallin 2 Legs Numbered Edition Dimensions: W 112.25 x D 49.25 x H 33.5 inch Materials: Travertin Navona Finishing: M...

Designed by Pocci&Dondoli, this table is characterized by a harmonious twist of sinuous arches, that outlines its unique base. The round top is made up of matt light grey velvet anti...

Giuseppe Scapinelli (1891 - 1982) An imposing and elegant dining table or writing table by Italian-Brazilian designer Giuseppe Scapinelli, in mahogany with a fully opaque, back-pain...

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...

Table concrete round with base in concrete with cracked finishes and with round white polished marble top. With metal frame under the top to reinforc...

Designed by Pocci&Dondoli, this table is characterized by a harmonious twist of sinuous arches, that outlines its unique base. The round top is made up of transparent extra-clear gla...

Butterfly oblong table by SEM Dimensions: D250 x W110 x H78.5 cm Material: polyester glossy lacquered finish. Costumized sizes, colors and top availab...

Round table, from Italy, attributed to the iconic designer Romeo Rega. This table boasts a glass top with with bevel and a base featuring four arched components of brass and chromed steel.

Designed by Bernhardt & Vella, its geometric shapes intersected by precious details give to Delta table a strong and refined character in any environment. This is a Fixed table with ...

Round Marble "Delos" dining table - Giorgio Bonaguro Dimensions: 74 height x 180 cm diameter Materials: Sahara Noir marble, satin brass Available in other marbles, metal finishes and with or without rotating tray...

Designed by Pocci&Dondoli, it represents a connection to the future, a piece of art enriching our rooms, a distinctive and uniform design, an elegant and valuable master in every hom...