Florence - Center Tables

Beautiful walnut coffee table with a refined central frame in ebonized and gilded wood. The triangular-shaped base is supported by turned and ebonized pine cones, while the band has ...

Elegant table in solid walnut with round opening top supported by four cross legs carved in the shape of a stylized cornucopia. The top opens up to an extension of 3 m supported by ...

Elegant circular table supported by four truncated pyramid legs resting on feral feet. A drawer in the band with a small bronze knob. Entirely veneered...

A swarm of butterflies as delicate as a lace table cloth forms an everlasting table top in white bronze, lost wax cast by Italian master craftsmen. A ...

This English 19th century Victorian period round table is constructed in a well patinated amboyna, burr walnut and ebonized wood, its convenient scale, great proportions and architectural features made it the perfect table in a dining room or in a foyer or entrance as a centerpiece. The amboyna circular top with beautiful book matched burl Walnut veneer and ebonized banding is nicely enriched by a metal beaded thread. The thin burr and ebonized apron under the top completes the aesthetic of this table without compromising the comfort of the seat. The whole rises on four column shaped supports, terminating in outswept section legs with scroll feet and recessed brass castors, with a round cross stretcher. Although victorian in date this table draws on a variety of different stylistic features, from a range of different periods. The use of beautiful amboyna veneers with the most warm color, set against ebonised mouldings is very much a 19th century feature however, the contrast created providing both a boldness and elegance all in one. This dining room or centre table is constructed from excellent timbers and when taking into account the overall quality of construction as well it is clear that it was produced in one of the top cabinet makers workshops of the time, very much in the manner of Holland and Son or Gillows but not marked. Stable and sturdy, which is due to the columns stretcher support design, and at the same time very easy to move - thanks to the recessed wheels- this is a most practical table indeed, perfect for a wide variety of spots around the home, as a small sized dining or breakfast table or as a hall centre table. Wherever you want to place it is certain to become a treasured addition to your antique furniture collection, not to mention the proud centerpiece in your reception room. The top comes off simply by unscrewing four large ancient iron...

A round-shape dining table with a steel base and glass on top, designed by Giotto Stoppino, Italian Manufacture, 1970s. Giotto Stoppino has been one of the architects that inspired the Neoliberty, the architectural movement that – in the 50s – ruled our country, and that was the answer to the international modernism that, at that time, was extremely popular. As an architect, Giotto Stoppino signed many projects: buildings, offices, the headquarters of the Banca Popolare di Novara in Bra, textile factories. In Milan, he created buildings in Via Palmanova, Via Cassoni, and Via Desiderio. He had been a member of ADI (Association for Industrial Design) since 1960, he was one of the board members of the association, and he was president from 1982 to 1984. But it’s mostly his projects and his design products that conquered the heart and got engraved in the memory of the Italians (and others), so much that he was nominated for two Compasso d’Oro awards (in 1960 and 1970) and won two Compasso d’oro (in 1979 for the Acerbis’ Sheraton...

Beautiful round table 'La Rosa dei Venti' in pinewood, with inlays. Designed by Mario Ceroli and manufactured by Poltronova, Italy, 1973. Manufactu...

Coffee table for the living room in mahogany wood, ground crystal. Designed by Carlo Hauner and Martin Eisler in 1955. Bibliography (similar model): Movel Brasileiro Moderno, Olha...

Beautiful round table 'La Rosa dei Venti' in pinewood, with inlays. Designed by Mario Ceroli and manufactured by Poltronova, Italy, 1973. Manufacture...

A low round-shaped coffee table model Bazaar with structure in white lacquered wood and ABS, the table presents an inner light implant. Designed by Superstudio and produced by Giovannetti in 1968, Italy. Literature: AA. VV. Dal cucchiaio alla città nell'itinerario di 100 designers, p. 192, Electa, 1983. Superstudio was an avant-garde architecture and design collective founded in 1966 in Florence, Italy by Adolfo Natalini and Cristiano Toraldo di Francia. Other members included Roberto and Alessandro Magris, Piero Frassinelli and Alessandro Poli. Their work consisted principally of photo-collages, films and exhibitions in which they used a radical Utopian approach to criticize the Modernist thinking in design and architecture. "In the beginning we designed objects for production, designs to be turned into wood and steel, glass and brick or plastic - then we produced neutral and usable designs, then finally negative utopias, forewarning images of the horrors which architecture was laying in store for us with its scientific methods for the perpetuation of existing models." This was how Superstudio described its work in a catalogue the group produced to accompany the 1973 exhibition Fragments From A Personal Museum at the Neue Galerie in Graz, Austria. Superstudio was then at the fulcrum of avant garde thinking in architecture and design. Ever since it first surfaced in 1966 at the Superarchitecture exhibition in the Italian town of Pistoia, Superstudio challenged the modernist orthodoxies that had dominated architectural thinking for decades. By questioning architecture's ability to change the world for the better and the boundless faith in technology expressed by earlier, more optimistic groups such as Archigram in the UK, Superstudio raised issues which have preoccupied successive generations of architects and designers from Studio Alchymia in late 1970s Italy and to the Memphis collective in the mid-1980s, to contemporary figures like Rem Koolhaas and Foreign Office Architects. In the early days Superstudio clung to the conventional wisdom that architecture could be a powerful – and positive – force for progress. By 1968, the group had dismissed this notion as improbably optimistic. The following year Superstudio unveiled The Continuous Monument project in which the apparently endless framework of a black-on-white grid - which was to become the group's best known motif - extends across the earth’s surface in a critique of what Superstudio saw as the absurdities of contemporary urban planning. The group created photo-collages to show the grid cloaking the Rocky Coast, Coketown and Manhattan. In 1970, Superstudio then revived the grid – its "neutral surface" – in a collection of furniture manufactured by the Italian company Zanotta. Designed in stark, geometric forms and covered in the ABET plastic laminate traditionally associated with cheap cafés and 1950s coffee bars, its Quaderna tables...

Midcentury sculptural bronze horses coffee table, round crystal top and round black lacquered base.

Ettore Sottsass 'L'Ospite' table in maple briarwood and chrome Production Zanotta, 1984 Italy. Literature: G. Gramigna, "Repertorio del design italiano 1950-2000", Torino 2003, Vol ...