Italian Dining Room Tables

Dining table in red travertine 'Il collonato' by Mario Bellini, Italy, 1970s.

Italian Peach + Ivory marble on a spun steel cylindrical base. The perfect statement table in a breakfast area or dining room. Pedestal base dining tables are comfortable and look ch...

1960's mid-century modern sculptural round walnut dining table with original light gray glass insert, fully restored with minor wear and patina due to age and use. there is some wear...

Defined by refined sculptural lines, and asymmetrical yet balanced proportions, this gorgeous dining table pairs a rectangular bronzed glass top with a strikingly composed base made ...

Well developed, decorative Italian Baroque 17th Century Drop-Leaf Table of Beautiful quality with a rich patina and good size. The table can be used in different ways: Opened on bot...

Inspired by tulips, this charming table is brimming with sculptural charm. A disk serves as the base for the petal-like rolled metal elements, all sharing the same epoxy-powder-varni...

Scroll down and click "view all from Seller" to see more than 500 other unique products. (2.2) Menhir, dining table with two bases in glass or ceramic top. The base is available in ...

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

An ‘Il Colonnato’ dining table designed by Mario Bellini for Cassina in the 1970s. This table was inspired by the colonnades of classical architecture, in which a sequence of columns...

An exceptional Neoclassical or French Regency Louis XVI style extension dining table In the manner of Gianni Versace Italy, Late 20th Century Gorgeous burl wood, with satinwood a...

Scroll down and click "view all from Seller" to see more than 500 other unique products. (2.2) Menhir, dining table with two bases in glass or ceramic top. The base is available in ...

Tria Penta Table by Colé Italia with Lorenz + Kaz, 2012 Dimensions: H.75; Pentagonal top ø 140 Materials: Veneered, lacquered or ceramic top with rounded corners, accordingly lacquer...

This table celebrates the raw beauty of natural wood with a striking design. The tabletop, crafted from glued lists of solid wood, offers a smooth and durable surface. Its most dis...

Scroll down and click "view all from Seller" to see more than 400 other unique products. (1.8) Table with top in solid wood, in glued slats with squared sides, supported by two tres...

Sculptural Elegance & Contemporary Design. Levante invites a new way to think about furniture, where each line and curve is carefully designed to evoke a sense of balance. The interp...

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...

Albini Franco. Packaging with bubble wrap and cardboard boxes is included. If the wooden packaging is needed (crates or boxes) for US and International ...

Extendable table designed by Luigi Scremin (1897-1983). Board made of birch wood with a blue laminated central detail. The base structure consists of black lacquered iron with adjust...

Italian extendable dining table by Pier Luigi Colli, 1940s Measure: W 148-207 cm.

Transport yourself to the glamour of the 1970s with our captivating dining table(s), This piece a homage to the iconic designs of an Italian designer whose pieces easily sell for 100...

Enigma Marble Dining Table by Alter Ego Studio Dimensions: D 132 x W 132 x H 80 cm. Materials: Nero Marquina. Available in other marbles. The products are made from natural stone, ...

Solid marble table with intricately carved urn shaped base. Detailed edge on marble top.

"Free shipping in Florida" It was exhibited at Palm beach "American International Fine Art Fair (AIFAF)" Glamorous Dining Table 60° Italian Ma...

The Solaris dining table is designed by Emél & Browne in the Minimalist and contemporary style and custom made in Italy by skilled artisans. The Solaris dining table with its glowing...

Midcentury ash wood dining table by Mario Bellini for Cassina. The table has a striking tripod base made from solid ash wood and a smoked glass table top. Design Classic and pr...

Baia Table by De Castelli Dimensions: W 240 x D 120 x H 75 cm Materials: Matt DeNuance Forest Copper, Other Other versions of this piece are available. Please contact us for any requ...

About 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 c...

An amazing dining table designed by Romeo Rega made out of steel, brass and glass top. This table's structure plays with geometric lines, creatin...

Dining Table in White Gioia marble Size: ⌀ 120 x 74,5 cm. - 47.2 x 29.3 in. Commercial name: Nissa Dining Table in White Gioia, Nissa Collection by the Spanish designer Ivan Colomi...

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.

This table is a monumental piece covered entirely in inlaid oak root, born from the fusion of classic architectural forms of arches and cross vaults and the tradition of noble cabine...

Incredible Art Deco rosewood dining or center table with sculpted rosewood pedestal and marble base. Newly refinished and restored. Gorgeous piece.

The table is the last adding to the collection Una (Articolo Indeterminativo) by Stefano Marolla. The name of the collection comes from the Italian grammar where the in determinative article precedes a non-identified noun. The objects play on the ambiguity of the matter than can deceive the eye: a sturdy element like wood, hand-curved and levigated, looks like a light tapestry. The curves and the soft drapery of the wood are inspired by a long and attentive study on the usage of drapery in art’s history, going back from the ancient Greece to Bernini’s sculptures...

Italian 19th Century Walnut Louis XV Style Hoof Leg Table with a scalloped apron and carved details on the legs is an exquisite and finely crafted piece...

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...

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

Table de Salle à Manger Ronde T69 en Marbre par Osvaldo Borsani pour Tecno, 1970

Italian round smoked glass and chromed steel dining table, 1970s Elegant and modern round dining table with smoked glass top and massive chromed ste...

Refined contemporary marble dining table 130/75 Dimensions. D 130 x H 75 cm Angelo is the essence of a round table in natural stone, a sculptural shape in robust material with eleg...

Stunning Green Marble dining table ,comes with a Black Cast Iron base . Chrome tube upright. Nice thin round Marble top .

Extending dinning table by Cardin, Italy, circa 1950.

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...

c. 1970s. Italy. Red plastic construction with square design. Could be used as a game table or card table as well.

Ferdinando Meccani Square Blonde Wood Dining Table, Italy, 1970's A hand-crafted highly unique dining table or center table with great geometr...

Vintage oval dining table designed model Samo, by Carlo Scarpa and Manufactured by Simon, Italy 1970s. Light grey granite dining table with o...

An object with a great personality, blurring the line between art and design, Kibo is a sculptural table of absolute scenic impact. Expression of unparalleled craftsmanship, the tabl...

Mid-Century Modern Italian "Cidonio" glass and steel table by Antonia Astori for Cidue. 1960s Chromed steel base and glass top with beveled profile. Measures: 137 x 75 H cm. Lite...

This elegant dining table by Osvaldo Borsani for ABV Arredamenti Borsani Varedo showcases rich dark wood, four sculpted legs, and refined brass accents. The table legs are a signatur...

A table of exceptional dimensions that enhances the originality of the materials with which it is composed. Born from a research process to achieve innovatio...

Superstudio, dining table 'Teso', glass, lacquered ash, steel, Italy 1970s A remarkable table designed by the Italian architecture and design group Superstudio, established in 1966 by Adolfo Natalini and Cristiano Toraldo di Francia...

Prices vary dependent on the size/model and material of the product. An extendable table (max. width: 265 cm) in cherry, exemplifying the perfect balance between Classic and contem...

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...

The Marilyn Table elegantly combines the grandeur of Dark Emperador marble with the natural beauty of ash wood. Its refined lines showcase Morelato’s craftsmanship and designer Liber...

The table is made entirely from solid scented cedar wood, with smooth, rounded sides. Its top and legs have a slender appearance due to the beveled and rounded edges, giving it a gra...

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 ...

A handsome Italian 19th century specimen marble center/dining table. The table is raised by two impressive white Carrara marble supports ...

The Marilyn Table elegantly combines the grandeur of Rosso Levanto marble with the natural beauty of ash wood. Its refined lines showcase Morelato’s craftsmanship and designer Libero...

An impressive and most elegant Italian 19th century Neo-Classical st. Calacatta and Breccia Dorata marble dining/center table. This palatally scaled table is raised by four Calacatta...

Tavolo Luigi XVI in noce con il piano decorato Tavolo Luigi XVI, della prima metà del 1800. In noce massello, con il piano interamente lastronato e decorato a “marqueterie” geometri...

The Giorgio Collection Charisma Italian rectangular table is a stunning piece that combines luxury and elegance. Featuring a grey Alpi marble top, it offers a sophisticated surface t...