Italy - Dining Room Tables

Organic 150 Round Dining Table by spHaus Designed by Filippo Dell'Orto Dimensions: D 150 x H 73 cm. Materials: MDF, aluminum, steel, lapis lazuli. Organic is a family of indoor dini...

Spider Skeleton 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, mirror-polished stainles...

Table entirely in solid wood with glued-lists top, with two straight sides, whose shape is inspired by the world of nature and, specifically, by the shape of a dragonfly.

“Nexum is born to celebrate the ancestral function linked to the need for a table: the need to share, where sociality features as the fil rouge that connects dining companions, and t...

Italian antique wooden dining table with one drawer and brass handle, 1800s Rectangular dining table entirely in wood. It features a centr...

The dining or conference table, with its unique characteristics and meticulous attention to detail, has an innovative vision and a very accentuated Muranese artistic sensitivity. Aes...

Sculptural Dining Table - Italian Collectible Design - Sergio Mazza Stainless Steel Table Beautiful and timeless dining table designed by Sergio Mazza for Italian furniture brand Ar...

The Inge table features a stunning marble top, supported by two large stone-like plinths. A beautifully detailed bar spans the distance between them and holds the two together. Inge ...

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...

Table model TL2, known as "Cavalletto," designed by Franco Albini in 1950 for Poggi. Wooden frame with rectangular top resting on two trestle bases joined by a reinforcing bar. The p...

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

Architectural Dining Table - Sculptural Round Table - Contemporary Collectible Table Unveiled on occasion of the 2024 Milano Design Week, this side / end table is part of Spinzi's l...

Round teak dining table with 3 leaves, Denmark 1960

A solid block of walnut held up by what seems to be a casually arranged group of glittering legs. A composite of contrasting elements, massive and sophisticated, strong and passionate; Il Pezzo 6...

Travertino Silver Refined Contemporary Marble Oval Table 210/75 Dimensions: 210 x 135 x 75 cm Materials: Trave...

Scroll down and click "view all from Seller" to see more than 400 other unique products. (1.8) Black and gold Ash wood dining table A sparkling forest of legs support a majestic blo...

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...

A solid block of walnut held up by what seems to be a casually arranged group of glittering legs. A composite of contrasting elements, massive and sophisticated, strong and passionate; Il Pezzo 6...

T5 Grey Dining table with anthracite ceramic matte top and lacquered Metal base in graphite black. Designed by Giulio Mancini The hight table, suitable for studios, dining rooms and...

Lavanche dining table by Piotr Dabrowa One of a kind. Dimensions: W 300 x D 120 x H 72 cm. Materials: Fior di Bosco marble, white Onyx. Produced by Serafini. Piotr Dabrowa (19...

Sideboard table in solid walnut, has a sliding and open top leads to the compartment below ideal for storing dishes and tablecloths, in the lower part a very elegant reinforcement cr...

Calacatta Macchia Vecchia wedge table by Marmi Serafini Materials: Calcatta Macchia Vecchia marble. Dimensions: D 130 x H 75 cm Other marbles...

COD-2374 Gianni Vigorelli Elegant oval table in stained wood with four-legged uprights and important cross with brass tips. Italian manufacture, attr. Vigorelli. 1950 approx.

A solid block of walnut held up by what seems to be a casually arranged group of glittering legs. A composite of contrasting elements, massive and sophisticated, strong and passionat...

Travertino Rosso contemporary oval marble dining table 290/75 For 12 people Dimensions: W 290 x D 160 x H 75 cm. Materials: Travertino Rosso. The collection consists of a round/oval...

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

An iron origami that seems light, a game of cross shaped forms and surfaces of any geometric shape define this collection of tables, characterized by a feature common to all my prote...

Sabbia Solid Wood And Colored Mineral Lime Plaster Dining Table by Dennis Kaiser Dimensions: D 100 x W 240 x H 70 cm. Materials: Solid wood and plaster. Handcrafted in Tuscany, Ital...

This family of products makes a bold statement with its generous cylindrical foot, connecting its structural perimeter while delimiting the objects that compose it. The distinctive m...

Mod. TL59 two tables by Afra and Tobia Scarpa Italy, circa 1975. Manufactured by Poggi. Metal alloy, transparent polished crystal. Literature: G. Gramigna, Repertorio del Design ita...

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...

70's table composed of an elegant mix of metals with polished brass and steel finish. The central base is made of full honey-colored plexiglass with a diameter of 20 cm. The smoked glass top in the image is 15 mm thick and can also be modified with a more generous size top up to 150 cm, designer Romeo Rega little chipping on the side of crystal plane. Romeo Rega is born in Rome on 10 October 1925, third of six children, born and raised in the Trastevere district, in the heart of Rome. THE FIRST BIG STEPS. He is 27 years old when, in 1957, he enrolls in the Albo provinciale delle imprese artigiane (Provincial Register of Craft Enterprises) and opens his first workshop in Vicolo della Frusta 6, where he collaborates with talented masters of wrought iron and forging. At this point arrives the first important order: the design and manufacturing for Cinecittà of the chariots for the American colossal film Ben-Hur, which will be published in 1959. He stays in Vicolo della Frusta until the end of the 1960s, a period in which he dedicated himself to his favorite activity: the design of his own pieces and the relations with people. Among his clients there are personalities from the world of cinema and entertainment, such as Marcello Mastroianni, Renato Rascel and his wife Giuditta Saltarini, Massimo Ranieri...

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

Extraordinary massive mahogany table in the style of Paolo Buffa. Finely carved decorations and finishes in gold.

Piece B Tabula [non] Rasa table by Studio Traccia. Dimensions: W 140 x D 104 x H 74 cm. Materials: Steel. Different combinations are available. The table was designed for our installation called tabula[non]rasa developed for Milan Design Week 2021, with the intent of materializing the potential of circularity through the lens of food waste. It is realized in recycled steel and a special table top Material made of food scraps. The Material of the table top was developed by MOGU, using a bio-based resin and low-value biomass, such as corn crops, rice straw, spent coffee grounds, waste algae and shells. The design of the table was conceived within the IDEA of working on modularity while yet shaping something elegant, playful and able to generate unexpected interactions. The pieces can be assembled all together to form a large leaf-shaped table, or can be arranged in creative combinations, to suit different needs, to display objects in a shop, for an exhibition or in a house. The whole table tells a story of circularity: innovative materials crafted into beautiful objects describe a new possible paradigm where resources are not depleted, but reinvested into a new metabolic loops. A new materialism that invents new narratives and form the common ground of our renewed relationships with the planet. And even more than that, a table of discussion that makes visible, the invisible flows of waste, not in a condescending way but with a positive proposal where different and circular logics are actually possible. Studio Traccia is a Milan based studio, founded in 2020 by Claudia Orsetti and Luigi Olivieri. Both have worked for over 10 years around the world, between Tokyo, London, Berlin and Amsterdam, gaining different experiences in a series of international studios such as SANAA, Heatherwick Studio, Tomas Saraceno...

This table was produced in Italy between the 1950s and the 1960s. It's a reinterpretation of the classic Fratino rustic table model. It is made from a wooden structure with 6 adjusta...

Port Saint Laurent Refined Contemporary Marble dining table 180/75 Dimensions: 180 x 75 cm Materials: Port Saint Laurent Angelo is the essence ...

Table completely made of solid wood with table top made of glued lists and beveled edges, characterized by an asymmetrical leg with base positioned laterally. Designed by Karim Ra...

Mid-Century Modern French dining or center table with lacquered metal and brass legs and top decorated with African landscape.

Extraordinary massive mahogany table in the style of Paolo Buffa. Decorations and finishes in gold. Glass shelf.

This walnut rectangular Tuscany table, has been hand made in Lucca (Tuscany, Italy) in 1760 circa. Its elegant shape, with the black border, makes this ...

Stump table Stump table è un tavolo che imita le forme organiche dei ceppi di legno e delle loro radici. Il piano, intarsiato con motivo Fiorentino, è reali...

They can be sold separately 1930s Art Deco majestic room furniture sets in burl walnut attributed Atelier Gaetano Borsani, Varedo, polished to wax. Two tulip-shaped sideboards with b...

A solid block of walnut held up by what seems to be a casually arranged group of glittering legs. A composite of contrasting elements, massive and sophisticated, strong and passionate; Il Pezzo 6...

Discover timeless elegance with this extraordinary table, a creation by Fulvio Brembilla in the early 1950s for the renowned company Rossana, then known as RB Design. Since then, the...

Chained Up Miami Dining Table by Barberini & Gunnell Limited Edition of 6 Dimensions: D 120 x W 320 x H 76 cm. Materials: Calacatta marble, mirror polished stainless steel. The insp...

COD-2834 Oak table with turned legs and bands with crescent moon decoration. Italian manufacture, early 1940s. 155x80xh75

Karen Chekerdjian expands her iconic Inside Out collection with the new Large Dining Table—a bold yet essential centerpiece for contemporary interiors. This new iteration introduces ...

Vela Table by De Castelli Dimensions: W 280 x D 160 x H 76 cm Materials: Orbitale DeLabré Brass Vela is a table-sculpture that explores and enhances the different facets and uses of...

A round lounge table featuring a marble top and lacquered legs combines elegance with modern design. The smooth, polished marble surface showcases unique veining patterns, adding a t...

COD-1909A Osvaldo Borsani, splendid table with extensions, specially produced on commission for a private residence in Milan, 1940's. This table has two special original extensions ...

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...

Stefano Giovannoni designs Frame for Ghidini1961, a new collection composed of sofas, armchairs, dining and coffee tables, bookshelves and cabinets. Everything starts from a simple e...

Isotopo table design by Elena Salmistraro, product by Scapin Collezioni Limited Edition A vibrant round top is combined with a sculptural base made of three rounded conical suppo...

This beautiful dining table comes from a 1950s private house located in Bergamo with Isa furniture and Stilnovo lightings. It is made from beech wood structure with a thick glass top...

Hungarian art deco Oval dining table in wood, 1930s Dining table with oval top with slight overhang, entirely in dark wood. The legs have a rectangular section. From Art deco period....

This solid wood hand made in Italy table is very versatile due to its appeal, well fitting any classic or contemporary environment, It's part of " Metropolis " collection by Sebasti...

Carlo Scarpa "Samo" oval table for Simon Gavina, granite, Italy, 1971. The Scarpa's way of thinking the architecture is particularly visible in this piece. The “Samo” dining table designed in 1971 for 'Ultrarazionale' collection by Simon Gavina consists of two grooved solid granite pillars...