Italian Dining Room Tables

Round travertine dining table made in Italy, 1970s. Solid travertine top and base. The top has a rounded edge and the base is made of three slabs of travertine. The table has a satin...

A solution for upper middle-class furnishing, with effect and impact. Visible quality and elegance of design. The set for three persons consists of: a table H 48 cm x diameter 119 cm...

Travertine double pedestal and glass dining table, Italy 1970. Excellent condition

Elegant Hollywood Regency style brass faux bamboo dining table. Smoked glass top. CREATOR: Unknown PLACE OF ORIGIN: Italy DATE OF MANUFACTURE: c. 1970's PERIOD: 1970...

Angelo Mangiarotti for Skipper "Eros" dining table in beautiful grey marble, Italy, 1970s Marble rests on 2 cone pedestals Great example of...

Wonderful vintage Italian travertine dining table by Stone International and manufactured in Italy, circa 1970s. This table has a design typical of...

Born in Italy but raised and educated in Paris, France Willy Rizzo has been one of the most eclectic figures in the panorama of modern design. Well known amongst collectors and furniture enthusiasts, Rizzo was not a designer by formation...

- 31" H, 66" L, 39" D - Blue, green, purple veined granite stone pedestal base dining table circa 1970s - Condition: Excellent.

A simple modern Italian travertine dining table ideal for smaller spaces. It features a polished stainless steel base with a travertine slab top. In ve...

This dining table boasts a beautiful Italian Fior di Pesco marble top with hues of grays and rusts. The base is curved with a slatted detail. The ...

Extraordinary dining table by Gastone Rinaldi with a top glass fume'. Gastone Rinaldi (1920-2016) is an Italian designer. In 1916, his father, Mario Rinaldi, founded RIMA, a company that produced metal furniture. In 1948, Gastone Rinaldi and his brother replaced their father within the company. He met Gio Ponti in 1950 and, with his help, designed the chairs (DU10 and DU11) for the hospital section of the IXth Triennale in Milan. On this occasion he also presents the chair with the DU9 rocking back. During this period, the Domus magazine regularly publishes its achievements. He participated in the XXX Fiera Campionaria, in 1952, in the section “Art and Industrial Aesthetics” whose curators were among others Alberto Rosselli, Ettore Sottsass and Marco Zanuso. In 1954, he received the Compasso d’Oro for the DU30 chair. He participated with Ponti, Parisi, De Carli and Gardella, in the American adventure of Altamira, one of the first foreign companies to call on Italian designers. He designs, with Carlo Mollino, the chairs for the Molinette hospital in Turin. In 1957, the DU41...

Stunning vintage marble round dining table by B&B Italia. An incredibly rare dining table by B&B Italia. Features a round marble top and steel base. Beautifully designed and in fa...

Ibisco Sedie dining table in solid beechwood. Table is in original condition with visible wear, including scratches. Wear is consistent with its age and use.

Table rectangulaire de Guido Faleschini pour Mariani, Italie, 1970. Le mobilier de cette gamme désigné par Guido Faleschini était distribué par Her...

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

Made in Italy, this 20th century glass, marble and brass accented dining table by noted Italian furniture maker, Artedi, makes a statement in ...

“Scuderia” dining table, designed by Carlo Scarpa and produced by the Italian manufacturer Bernini in 1977. Originally, Carlo Scarpa designed the table to restore the stable of Villa Valmarana in Vicenza in 1972. The table features a solid walnut structure. Available also five “Kentucky” dining...

Mid-Century Modern Sculptural Travertine dining table, Italy, 1970s.

Mid-Century Modern dining table in the style of Willy Rizzo, Ash Burl, Italy.

Italian space age white cream plastic and wood round dining table, 1970s Space Age dining table, with round wooden top and tulip-shaped leg in cream-whi...

Italian dining table, designed by Luciano Frigerio for the Frigerio - Desio company. It is part of the Norman series, made of dark Italian walnut, reminiscent of the keys of a piano...

Mid-Century Modern red travertine dining table by Angelo Mangiarotti, Italy, 1970s.

Italian chromed metal and glass dining table in the style of Gastone Rinaldi Large dining table produced in Italy in the 1970s. The top ...

Silvio Coppola design walnut dining table for Bernini, Italy. Post modern table with interesting architectural bases on rounded splayed legs. Made with book matched walnut veneer on ...

An elegant and raredining table designed by Giampiero Vitelli in the 1970s.Teak frame .Extensible:130cm-180 cm.Excellent condition. Free professional packing is provided.

Mid-Century Modern dining table corinth by Ferdinando Meccani for Meccani Arredamenti, 1978.

A gorgeous circular dining table with burgundy marble from Italy circa 1970's. It features a four legged chrome plated steel base with thick m...

Produced by Mobilgirgi Italia in 1975 Chairs: Set of six robust Italian dining chairs with saddle-stitched leather seats, black colored. Very comfortable even for larger sitters despite the slim profile. Dimensions: 50 x 47 x 82cm, assise 45 cm. Dining table in walnut, dimensions 209 x 89 x 76 cm. Sideboard: manufactured by Mobilgirgi in Italy in the 1970s. Very rare walnut sideboard. Dimensions: 250 x 50 x 79.5 cm. Showcase furniture...

A 20th century Italian dining table made from metal with a glass top. This trestle table is constructed of thick, bent metal bars an...

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

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.

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...

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

Magnificent sculptural round table in the shape of a palm tree made of carved wood and gold details. From Italy by Chelini Florence from the 1970s.

Renato Zevi design for Roche Bobois France years '70 Table in chrome and tickness glass of 0.5 inches and 48 in. Diameter

Vintage 1970s chrome Italian dining table, center table, entry table base. Dimensions: 28 H x 24 D.

Mario Ceroli is an important italian sculptor and set designer. He's most famous as one of the protagonists of the Arte Povera, an italian art group active during 60s. His work is characterized by the use of the wood in many shapes and types. Here we have a very peculiar table designed by the artist Mario Ceroli in 70s and produced by Poltronova. The model of the table is "Rosa dei Venti" (wind rose...

Travertine dining table Il Colonnato by Mario Bellini for Cassina, 1970s.

Nice dining room table by Giotto Stoppino from Italy, the 1970s. This table features a chromed tubular base in an attractive, triangular shape with a smoked glass top. We also have a...

Mid-century italian burl dining table by Willy Rizzo 1970s. Italian modern piece from the late 1970s Art Deco designed by Willy Rizzo. Thi...

Carlo Scarpa "Samo" oval table for Simon Gavina, white Carrara marble, Italy, 1971. The Scarpa's way of thinking the architecture is particularly visible in this piece. The “Samo” d...

A modern Italian spiral table base from the 1970s. It consists of a spiral leg made of black Maruina that is attached to an ellipse base made of ...

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

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

Mid-Century Modern Italian Round Table with "Marquina" Marble Top. The basement of the table is composed by three Stainless Steel cylinders that make to the whole table very distinti...

Italian lucite, brass and aluminum pedestal table base, ( ONLY) circa 1970s. Created by artist Romeo Rega. Base diameter measures 19".in diameter... Can hold desired glass top.. Han...

Rare squared dining table attributed to the Italian designer Marzio Cecchi and made in the 1960s. Glass top with border on irregular large chromed steel legs, Italy, 60s. Dimensions:...

Patinated Bronze Octopus Table or Sculpture, 1970s Italy This fabulous dining table in the shape of an octopus is made in Italy. The base of the table i...

Striking rectangular glass dining or center table. Elegant design geometric black marble supports. Excellent original vintage condition. Can be used as a dining table...

Breccia Oniciata marble double pedestal dining table, 1970. Italy. Beautiful golden beige tones

Maxalto, Italy, circa 1975 lacquered walnut, brass Literature: Repertorio 1950-1980, Gramigna, pg. 416.

Fabulous round 59 inch diameter glass top table which sits cantilevered on a stainless steel base. Internally locked on and with 5 heavy duty weights to counter balance the table. St...

An incredibly stunning 47.25" diameter round Italian travertine pedestal dining table, Italy, circa 1970s. Solid travertine conical pedestal with 1.25" thick solid travertine top. Ro...

Dining table, designed by Romeo Rega. France, Metalarte, c1975. A large dining table in brass and chromed metal feet and structure with nine separate smoked glass panel inserts. B...

Dining table, stone, glass, Italy, 1970s  This stone and glass centre table is exemplary for the postmodern design of the postwar Italian era. This stone pedestal table has a archit...

Hollywood Regency Brass Chrome Glass Dining Table by Renato Zevi for Banci Firenze, Italy 1970s. Extraordinary dining or center table with a stunning brass and chrome base in the st...

A 1970s carved wood dining table. A lifesize stylized agave plant with the leaves supporting the 60” diameter glass top. Ned’s new top. Carvin...