Italy - Dining Room Tables

“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...

Fine dining table featuring a tabletop crafted from thermally treated ash veneer multilayer. Its minimalist design is defined by clean lines and a refined silhouette, supported by tw...

The main feature of the table is the result of its construction, allowing the top a minimum thickness of 6 mm, exploiting the qualities and properties of aluminum. Materials: Alum...

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 ...

Handmade lacquered iron table, obtained by bending a single metal sheet. Dimensions and colors customizable on request. Please note that due to extended production lead times durin...

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...

Coste Table by De Castelli Dimensions: ⌀ 108 x H 75 cm Materials: Brushed Copper Other dimensions and versions are available. Please contact us for any request. Inspired by the art ...

Picasso green Refined Contemporary Marble dining table 160/75 Dimensions: 160 x 75 cm Materials: Picasso green Angelo is the essence of a round table in natural stone, a sculptural ...

A medium-sized round dining table with a diameter of 140 cm, featuring a robust base formed by intersecting vertical panels that provide stability and visual interest. The tabletop's...

We present you a majestic antique Italian oval extendable dining table. This table is made of solid walnut wood, its oval top is supported by a large central stem with a delightful c...

Angelo Mangiarotti "Eros" dining table for Skipper, marble, Italy, 1971. The “Eros” dining table design features no joints or clamps and is architectural in its structure. The dinin...

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

Folio Table by De Castelli Dimensions: W 298 x D 110 x H 75 cm Materials: Brushed Brass Other dimensions and versions are available. Please contact us for any request. The Folio tab...

Beach Rock Dining Table by Atelier Benoit Viaene Dimensions: D 160 x H 76 cm. Materials: Wood, Beach Rock. Benoit Viaene is originally from Kort...

Piero Emperador Grey Dining Table by Fred and Juul Dimensions: D 160 x W 160 x H 74 cm. Materials: Emperador Grey marble and aluminum. Available in Rosa Tea or Emperador Grey marble...

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

Spinzi Silös dining table - Mirror Top Table - 70cm Dining Table Minimal and functional, sturdy metal structure dining table, perfect for small apartment or for a cozy corner in the...

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. (2.2) Menhir, dining table with two bases in glass or ceramic top. The base is available in ...

The choice of the finishes for top and base together with the harmony of the shapes gives back a table of perfect proportions and enveloping style. The idea of a thin folded paper de...

Crystal coffee table, more of a rare discovery than a crafted piece, embodies the geometric harmony found deep within the Earth’s elements. Our Crystal Coffee Table is a rare gem tha...

Italian modern Dining table or desk in wood and black metal, 1980s Dining table or desk with rectangular top in light wood. The structure to which the top and legs are fixed are in b...

American Modern wood and black metal Dining table by George Nelson for Herman Miller, 1960s elegant and fantastic dining table with thick ova...

Sculptural Elegance & Contemporary Design. Levante invites a new way to think about furniture, where each line and curve is carefully designed to evoke a sense of balance. The interp...

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...

Rare round table designed by Paolo Buffa and produced by Marelli and Colico, Cantù, 1950s Central wooden leg, brass supports and wooden top Small defects

Imperium is a table-sculpture that embodies strength, balance and timeless elegance. Made entirely of Calacatta Gold marble, selected for its golden and pearl-gray veining on an ivor...

Dining Table in Rosewood, Denmark, 1960 Additional information: Country of Manufacture – Denmark Design Period – 1960 Production Period – 1960 Style – Midcentury / Danish design Mat...

The rhythmic pace of the wooden strips composing the base of Hybrid make it a table of great contemporary charm. The alternation of materials between base and top express the design ...

Juni dining table by Marmi Serafini Designed by Piotr Dabrowa Dimensions: D 135 x H 73 cm Materials: Verde Alpi marble, Bianco Crystal marble. Available in other marbles. Prices may ...

Crafted with precision, the Blade/T boasts a solid wood top and columns, each adorned with mesmerizing concentric circles covered in luxurious parchment. A visual symphony that trans...

OAK structure dining table with rounded edges wooden top and rounded legs. Connective metal frame in chrome or black finish. Presented in Black Oak open pore, mat finish and polished...

The Roundel table celebrates circular shapes in a number of ways, including the form of thetop and the three different discs into which it is divided, which can be made with a range ...

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 ...

Oval Marble "Planalto" dining table - Giorgio Bonaguro Dimensions: D 120 x W 240 x H 74 cm Materials: Stardust marble, burnished metal Available in other marbles and metal finishe...

Angelo Mangiarotti was an Italian architect and industrial designer, born in Milan in 1921. He studied architecture at the Politecnico in Milan and graduated in 1948. His designs wer...

Bangles Pop Dining Table by Barberini & Gunnell Limited Edition of 15 Dimensions: D 120 x W 350 x H 76 cm. Materials: Tempered crystal glass, mirror polished stainless steel colored....

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...

Majesty Dining Table by Kreoo Designed by Christophe Pillet Dimensions: D 100 x W 300 x H 74 cm. Materials: Verde Bamboo marble. Available in different marble and travertine option...

Handmade lacquered iron table, obtained by bending a single metal sheet. Dimensions and colors customizable on request.   

Scroll down and click "view all from Seller" to see more than 400 other unique products. (1.8) Boss executive wood and cement round dining table...

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

Baia Table by De Castelli Dimensions: W 240 x D 120 x H 75 cm Materials: DeNuance Forest Copper, Other Other versions of this piece are available. Please contact us for any request. ...

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-whit...

Perfectly preserved and beautiful... Produced in the mid-1970s, this Dining Table, Six Seater, is made of Transparent Glass, 1.5 centimeters thick, resting on Chromed Steel sculpture...

Italian modern Dining table Desco by Achille Castiglioni for Zanotta, 1970s Dining table mod. Desco with round top in satin steel with black plastic profile. The 3-spoke leg is made...

Scroll down and click "view all from Seller" to see more than 400 other unique products. (1.8) Table with top in solid wood available with straight or natural sides, combined to a s...

Asymmetrical table, natural leather by Colé Italia with Aksu/Suardi Dimensions: H.75, W.210, D.90 cm Materials: 4 pivoting legs structure and beam i...

Wedge dining table by Marmi Serafini Materials: Marble, wood, metal. Dimensions: 130 x 130 H 75 cm. Top and leg in marble, support panel in wood no...

The 'Spider Classic Small' dining table is made of mirror polished stainless and tabletop in extra-clear crystal glass. Dining table dimension: L 190 x W 90 x H 75cm. Dimensions are...

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 ...

Italian mid-century white wrought iron and glass garden table, 1960s. Outdoor dining table, but also suitable for domestic and indoor use, with str...

Dining table composed in marble and metal brass finishing, created by Michele Arcarese Architect together with Giovannozzi. - Top with beveled edge in flush marble type "CRYSTAL QUA...

Moon Phase Dining Table by spHaus Designed by Filippo Dell'Orto Dimensions: D 114 x W 240 x H 74 cm. Materials: Hard polyurethane, concrete powder. Moon Phase, is a sophisticated ma...

Fixed oval top. The base can be covered in eco-leather, eco-nabuk, real leather or real nabuk. The top is enriched by sunburst inlays in essence of Canaletto Walnut wood. This piece ...

The il pezzo 8 glass table features a clear glass top paired with a striking base composed of twisted legs in bronze, satin brass, and nickel finishes. Crafted using traditional sand...

Nero Marquina takes its name from the town of Marquina, near Bilbao, where it is traditionally extracted. It is not difficult to imagine the reasons for the success of this type of m...

The Tecla rectangular dining table is crafted from Amara ebony veneer with a matte finish, enhanced by glossy horn details. The legs, also in Amara ebony veneer with a matte finish, ...

Oval Grissinato Edge Table with Green Alpi Marble Top from Premuda, Lissone, Milan Brianza, 1940s. A prestigious Art Deco table: a large oval base supports a generously thick top wi...

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...