Italian Dining Room Tables

Contemporary dining table inspired on Gio Ponti's pattern. Made in wood covered in painted lacobel crystal with marble on top. Every item LA Studio offe...

Giro is a rotating disk system dining table for the convivial experience to serve and share food. The plane is divided in three different circular elements that rotate independently ...

Large and heavy duty eight leg table with tenon construction. Very nice patina.

Table inspired by the decisive features of the primitive architecture of Easter Island. It is characterized by a sculptural base covered in precious woods, available in light tay, da...

This Italian dining table from the 1980s is made from solid oak wood and features a bold, geometric design. The angled legs and triangular supports give it a strong, architectural lo...

A dining table made entirely of marble exudes elegance and sophistication. It features a smooth, polished surface that highlights the natural veining and unique patterns of the stone...

Fine quality mahogany dining table with inlaid detail and useful small drawer very similar to a table sold at Sothebys, designed by Gio Ponti.

Bianco Statuarietto Refined Contemporary marble dining table 180/75 Dimensions: 180 x 75 cm Materials: Bianco Statuarietto Angelo is the essence of a roun...

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...

Kyknos Refined Contemporary Marble Oval Table 210 / 75 Dimensions: 210 x 75 cm Materials: Kynos marble Angelo is the essence of a round table in natural stone, a sculptural shape in...

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...

Designed by Monica Ballesio. The top and base are in polished veneer wood with chromed inserts. The table, deco style, is part of a limited edition designed and made exclusively for ...

Picasso Green Refined Contemporary Marble Oval Table 210/75 Dimensions: 210 x 135 x 75 cm Materials: Picasso Green marble. Angelo is the essence of a round table in natural stone, a...

The form of the Bentz table base derives from a simple profile swept along a down and up trajectory. In doing so, it creates an airy and sculptural central focus with the functional ...

Conference table, Carrara marble, walnut, iron, Italy, 1970s.  This captivating oval table from Italy serves as an ideal choice for either a conference or a dining setting. It achie...

Interesting table that can be either a dining table or a gaming table. Unknown designer but some details show that it’s a a reconstruction area furniture just after the war very efficient at low budget. So some kind of typicalities that can remains to French architect of the same period like prouve...

Excellent cabinet making for this table in solid rosewood. Four sabre legs with gilt bronze feline tips accommodate the gondola-shaped body in the centre, the whole supporting the ov...

"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 is a sustainable exceptional dining/centre table base handcrafted from a reclaimed Austrian pine tree by Bartolozzi e Maioli. The table is one of a kind with beautifully carved ...

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...

Tavolo esagonale in vetro di Sandro Petti, per Angolometallarte, 1970s Informazioni aggiuntive sull'oggetto condizioni: Molto buone, lieve opacità su un ango...

Mario Ravegnani Morosini, table, stained ash, lacquered wood, glass, Italy, 1950s Italian architect Mario Ravegnani Morosini conceived this table, ex...

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...

Travertino silver refined contemporary marble dining table 130/75 Angelo is the essence of a round table ...

Grey Saint Laurent refined contemporary marble dining table 250/75 Dimensions: 250 x 160 x 75 cm Materials: Grey Saint Laurent marble. Angelo is the essence of a round table in natu...

A sensational and large scaled Italian 19th century Wrought Iron and marble center/dining table. The rectangular table is raised on an impressive Wrought Iron base with scrolled designs and wrap around bands joined at the center by two elongated scrolled supports. Above is the impressive and long marble top with an array of inlaid marbles, Breccia Africano...

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 ...

Mid-Century Modern Italian black iron base table with wood veneered top and brass feet, 1970s The wooden top of the table shows some wear due to age and use but the table is in very...

Maurits Reclaimed Oak Oval Dining Table by Fred and Juul Dimensions: D 160 x W 295 x H 78 cm. Materials: Reclaimed oak and black metal. Available in round or stadium shape. Also ava...

Mid-Century Modern Italian adjustable black lacquered wood dining table. When closed the table measures cm 118 x 118 x H 74. When opened the table measures cm 118 x 158 x H 74.  

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

Bianco Statuarietto Refined Contemporary Marble Dining Table 130/75 Dimensions: 130 x 75 cm Materials: Bianco Statuarietto Angelo is the essence of a round table in natural stone,...

Small round marble "Delos" dining table - Giorgio Bonaguro Dimensions: 74 height x 120 cm diameter Materials: Stardust marble, metal Available in other marbles and metal finishes. Collection of tables developed from a pure block of marble, with a base divided into two or more massive elements, reminiscent of ancient pillars or supporting columns. These furnishing elements have great versatility thanks to their geometric and essential shapes. The base and the top are in marble, with a central metal insert in different finishes. Giorgio Bonaguro studied mechanical engineering in Modena and then graduated at Scuola Politecnica di Design in Milan, in the double Master of Industrial and Interior Design. He has worked in several design studios in Milan, first at Lorenzo Palmeri...

Travertino Rosso Refined Contemporary Marble Dining Table 130/75 Dimensions: 130 x 75 cm Materials: Travertino Rosso Angelo is the essence o...

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

Post Modern Design By Glas Italia Design Piero Lissoni POS20 140cm Round 72cm high (with 3 hand-blown glass legs) As new condition Post Modern The feet are in moulded and shaped ...

19th century striking large scale rustic Italian dining table. The pine top retaining traces of old red paint, supported on three pedest...

This table, features an elegant top with rounded edges, resembling the colours and shape of the famous lake which came from a volcanic crater. From the central part to the outside edges the design reflects the connection between land and volcanic rock. The curved legs resemble the waves of the sea as the stools Sibà are inspired by the island's mountain community. The table-top is crafted with coloured marble...

The Penumbra dining table is designed by Emél & Browne in the Minimalist and contemporary style and custom made in Italy by skilled artisans. The radiant copper legs of the Penumbra ...

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 ...

002.09 XP Crystal Dining Table by spHaus Designed by Filippo Dell'Orto Dimensions: D 105 x W 280 x H 74.3 cm. Materials: Steel, clear crystal. The table is made of steel tubular fra...

Squared dining marble table by Gianfranco Frattini, 1985 Absolute masterpiece by Gianfranco Frattini coming from his private house in Italy. This sculptural table is composed by a s...

Grey Saint Laurent Refined Contemporary marble dining table 180/75 Dimensions: 180 x 75 cm Materials: grey Saint Laurent Angelo is the essence of a round table in natural stone,...

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

Scroll down and click "view all from Seller" to see more than 500 other unique products. (2) Century, Dining table in glass or ceramic top. The top can be rectangle or tonneau shape...

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...

Efesto Dining Table by Chinellato Design Dimensions: W 250 x D 120 x H 72 cm Materials: Top: Black Background and a top in Thermally Treated Oak. Base: Large Copper Leaf finish. Who...

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

Gio Ponti's stunning conference table completely transforms the concept of meeting spaces through its simple and sleek design. An impressive 2.8 meters long, it retains a minimalist ...

Spider Dining Table by Barberini & Gunnell Limited Edition of 15 Dimensions: D 100 x W 270 x H 76 cm. Materials: Tempered extra-clear crystal glass, mirr...

Mario Ravegnani Morosini, dining table, stained ash, lacquered wood, glass, Italy, 1950s Italian architect Mario Ravegnani Morosini conceived this ta...

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 ...

Round table in champagne bird’s-eye maple veneer with high gloss polyester finish. Details top and base in chrome stainless steel. Measures: Diameter 71’’ x 30’’ height. This item ...

Kynos Refined Contemporary Marble Dining Table 130/75 Dimensions: 130 x 75 cm Materials: Kynos Marble Angelo is the essence of a roun...

Magnificent glass table on a chrome base designed in the 1970s. It can be attributed to Giovani Offreddi for Saporiti but we cannot certify it. The design of the base and the struc...

Glenn Desk Table by VUUN ITALIA Dimensions: D 80 x W 180 x H 72 cm. Materials: Black glossy glass and lacquered oak. Available in different finishes and sizes. Please contact us. ...

Round table with structure oak available in natural finish (F101) or in slate finish (F104). Structure of the legs in solid maple with profiles in Canaletto walnut. Its peculiarity i...

Queen Dining Table by Kreoo Designed by Christophe Pillet Dimensions: Ø 160 x H 71 cm. Materials: Calacatta Viola marble. Available in different marble options. Please contact us. ...

This table was created through collaboration with Francois Morellet, the eclectic French artist (painter, sculptor and light artist). Born in 1926, he was an exponent of minimalist a...

Magnificent teak table designed by Ilmari Tapiovaara for Permanent di Cantù in the 1960s. This table features a rectangular teak top resting on two highly designer legs that make th...