Europe - Dining Room Tables

MG209 Plank Dining Table by Malte Gormsen Dimensions: D 100 x W 240 x H 72 cm. Materials: Oak. Available in Nature, Raw Nature, Light Nature, Grey Nature, and Dark Nature. Malte Go...

Rizzo loved the simplicity and purity of Rationalism and was heavily inspired by the Bauhaus aesthetic. Informed by his photographer’s eye, he sought visual harmony of shapes and mat...

Trace Outdoor Coffee Table The Trace coffee table is the perfect piece to add life and sophistication to any well-structured living space. As a central piece, it provides both func...

Ignazio Gardella dining table brass iron wood, 1950, Italy.

Contemporary Belgian design, handmade natural plaster table with a textured and earthy character. Indoor use (price outdoor +10%) Latin adjective “columna” /koˈlum. na/: column, pillar The Column dining table is handcrafted with multiple layers Mortex® on a wooden base. Mortex is a premium natural plaster that has proven its quality in construction purposes for years. It is used for bathrooms, floors, stairs, swimming pools, etc. In terms of composition, it is similar to products like Betoncire or Venetian plaster, but Mortex does not contain epoxy or polyurethane resins and it is waterproof by nature. The plaster is applied using the “a fresco” method, which means the previous layer has not yet fully hardened before the next one is applied. This technique allows all layers to bond together and obtain the highest quality result. The result of this handcrafted process is a textured piece of art with a human touch. *The irregularities, imperfections and color shades that arise after the application of the plaster leaves the signature of the craftsman. This makes each piece unique. The altruistic & humble character of our pieces ensures that they can be used in many different styles, such as contemporary, wabi sabi, japandi, minimalism, brutalism, industrialism, etc. Atelier BB was founded in 2022 by William Baetens and Isabelle Beaumont...

Modernist vintage dining table or center table from walnut and black glass designed by Afra & Tobia Scarpa 1970s Italy. A beautiful dining table with a blonde walnut frame and the bl...

PLUSH dining table, round, 160 cm. Solid wood table top and legs. Handmade in Denmark. Signed by Jacob Plejdrup for DK3 Table's height: 72 or 74 cm S...

Ico and Luisa Parisi, Italian Mid-Century Modern wooden dining table, circa 1950 Please note : the "free shipping option" and/or "subsidised shipping option" if stated in the ...

Since the opening of her interior design studio in Paris in 1999, India Mahdavi keeps pushing the boundaries of her creative consulting from design to architecture, as well as scenography and styling. Venturing the whole world, she developed a rigorous aesthetic and architectural vocabulary unceasingly renewed, that can be seen in every project. Among her most important projects are institutions like Claridges in London, Monte Carlo Beach in Monaco, or more intimate places where she restored a singular identity like the Hotel du Cloitre in Arles or Thoumieux house in Paris. Rich of artistic complicities, she has just signed with the M/M (Paris) le Café Français on Bastille square in Paris, and works with Joseph Dirand on L’Apogée Courchevel for the group Oetker. Landscapes project is an abstract color composition inspired by Iznik tiles...

Erice is a round dining table merging craftsmanship and digital innovation. Its 3D-printed biodegradable plastic trunk supports a transparent glass top, showcasing the structure. Wit...

Our newly unveiled collection is meticulously handcrafted in Portugal. Departing from conventional norms, we embrace a palette of unconventional materials, including different marble...

Willy Van Der Meeren designed this dining table, model T1, for Tubax in 1954. The three-legged frame is made of black painted metal, the top is covered with light mint green formica....

MG202 Extendable Dining Table by Malte Gormsen Dimensions: D 120 x W 300 x H 72.5 cm. Materials: Dark Nature oak. Available in Nature, Raw Nature, Light Nature, Grey Nature, and Dar...

We are delighted to offer for sale this very well made, solid English Oak Habitat refectory dining table and eight Potocco leather and oak dining chairs This is a lovely, lightly used suite...

Round Eros dining table by Angelo Mangiarotti for SKIPPER, Italy – circa 1970. Rare model! With Skipper table!! The table still remains in very good condition. Very minor signs of use. Designer: Angelo Mangiarotti Manufacturer: SKIPPER (labled) Period: circa 1970 Size: ø145 x 72 Model: Eros dining tabel...

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...

Dining table in the manner of Kai Kristiansen. Produced in Denmark. Dimensions (W x D x H): 120 ( 229 ) x 120 x 72 cm.

Emerald Vein Introducing the awe-inspiring Ancient Maple Burl Large Dining Table with Emerald Resin—a truly one-of-a-kind masterpiece crafted by the hands of great artists. This mag...

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

Table standing on octagonal column base with extendable tabletop (up to 250 cm). The sides and base are decorated with geometrically carvings. The frame is additionally decorated with gold patinated panels with fruit ornaments...

A solid teak table designed by Hans Wegner, in the late-1950s, and made by Master Cabinetmaker Johannes Hansen in the early-1960s. As this design was made to order piece, only a smal...

Ettore Sottsass for Poltronova Italia 1965, "Bianco di Carrara" marble top and base and black lacquered iron cylinder support, this icon of 1960s Italian design plays on the elegant ...

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

Structure: Solid walnut. Top : Top and top edge veneered in American walnut or mable in different color of Ulivi Salotti range. For round version also available the “lazy susan”...

Vintage Minimalist Italian Design Carrara Marble Floating Square Dining Table. Made in Italy, 1970's period. No maker markings or labels found. This square thin Carrara Marble top fl...

Maison Lecan presents this beautiful dining table, entirely original, with its two extensions. In addition to being beautiful and immediately imposing its warm and Scandinavian prese...

Table designed by Paul McCobb in 1952. The foundation of the Cache series, part of Paul McCobb’s extensive Planner series, is a beautifully simplistic and easy table with slim an...

Vintage 1960's Rosewood Merrow Associates round dining table set on a chrome base. Dimensions: Width: 137 cm Height: 75 cm

Wonderful dining table, salon table with elegant oak inlays and four beautifully crafted legs. A highlight in every entrance area or dining room.

This unique dining table, crafted by an unknown architect from Turin in the 1940s, exemplifies the Turin school of design with striking similarities to the works of Carlo Mollino, Pa...

Royal House Antiques Royal House Antiques is delighted to offer for sale this absolutely stunning and very rare, ER Stamped, Crown Estate, original Ships Pitch Pine Refectory dining...

Royal House Antiques Royal House Antiques is delighted to offer for sale this exquisite, Antique Victorian Burr pine Gateleg extending dining table circa 1880 Please note the delivery fee listed is just a guide, it covers within the M25 only for the UK and local Europe only for international, if you would like an accurate quote please send me your postcode and I’ll provide you with the exact price A very good looking and well made dining table, it has a gateleg base, often known as a coffin table...

This 18th-century Danish Baroque dining table is a stunning example of timeless craftsmanship and sophisticated design. Crafted from solid oak, this piece showcases the rich, natural...

Italian modern glass, steel and wooden dining table Frate by Enzo Mari for Driade, 1973 Dining table mod. Frate with rectangular tempered glass top...

Elegance, charm and contemporaneity: in an unexpected play of lights and transparencies, the extraordinary glossy gold sculpture at the base of the table shines through the smoky gla...

Beautiful Italian wooden table from 1950. The entire structure of the table was made of fine wood, embedded in the top, a sheet of glass stained light gray, almost making it look li...

Trace Outdoor Bar Table The Trace bar table is the perfect piece to add life and sophistication to any well-structured living space. It provides both functionality and visual appea...

1930's Original Cast Base Fischel Bistro Dining Table. Fischel was founded in 1871 by Czech born David Gabriel Fischel, a successful vegetable oil merchant, using the first hand kn...

Very good original vintage condition with trace of age and use and small oxidation on the chrome for this set of a dinner table plus four chairs. Reminiscent of the style of Gastone ...

The Chubby Collection is an ode to the Colombian figurative artist Fernando Botero. Chubby borrows the roundness which becomes a sensual way to sculpt stone and give it an unique folded visual aspect. Each piece is hand-made and the stone is carefully selected to ensure the “fold” effect, a real sensation to have a folded piece of stone. Each elements of this console is carved in one single piece of Travertine Navona...

Round Table model “Maia” table in wood on a chromed steel frame. Designed by Giotto Stoppino and produced Bernini, Italy 1970s. Designer - Giotto Stoppino. Producer - Bernini. ...

Beautiful dining or writing table in the style of Willy Rizzo, 1970s. The structure is in polished steel, the side bands are covered in genuine leather, the top in smoked glass. Very...

A 19th century French table displaying a swivel fold out extending top. Height - 83cm Width - 140cm (open) Depth - 99cm (open)  Width - 99cm (Closed) Depth -  70cm Closed) 

Dieser handgefertigte Unikat Tisch mit lebendiger Baumkante wird immer aus zwei Baumstammbohlen einer mächtigen Eiche gefertigt. Die Kombination aus schwarz gebrannter Eiche, die nac...

Vintage walnut top and white pedestal legs dining room table.   

One-of-a-kind dining table. Born in Romania in 1986, Mircea Anghel is a self-taught designer based in Portugal and the founder of Cabana Studio. From a young age, growing up in Buch...

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...

Dissociative:217 cm / 85.43″ Made by furniture makers from the Ecole Boulle, an art academy in Paris. This elegant round Art Deco extendable dining table comes from France from the...

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...

Unusual travertine dining table with a reeded base. Beautifully shaped table top. 1970s - Italy Dimensions: Height: 73cm/28.74" Width: 130cm/51.18" Depth: 130cm/51.18" Ref: 864531

We made this table starting from a 19th century hardwood 3 plank top. Inspired by brutalism, organic furniture and 16th century refectory tables we decided to add tripod feet made fr...

The Metamorphosis Oval Dining Table is a magnificent interpretation of Boca do Lobo's distinctive concept. This opulent dining table echoes the evolutionar...

A wonderful dining set designed by the illustrious Italian architect Giovanni Michelucci for the Poltronova design house from 1965. This set is part of the famous 'Torbecchia' series...

A dining table in patinated steel. Hand crafted in the North to order. Custom sizes and finishes are available. Measures: 290 cm (width) x 75 cm (height) x 95 cm (depth). Custom siz...

Aurora Dining Table by Mythology Dimensions: D 180 x H 74.5 cm Materials: Oak. Available in oak or beech. Please contact us. The Aurora dining table is inspired by the fluidity fou...

Coralie Dining Table from Nolita Harbour. This luxurious dining piece features a stunning Aegean Rose marble top, with delicate, warm tones and natural veining, creating a captivatin...

The undisc table makes us look at the central leg in a different way. Something is going on but in a modest way. Simple yet refined, it offers a central dining table that dissolves i...

19th-century French farmhouse dining table with a naturally aged patina, embodying the timeless beauty of the French countryside. The table’s surface, adorned with colourful paint sp...