Italy - Dining Room Tables

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...

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...

Baroque Ferrarese burl walnut with neoclassical references , Art Decò age, table with six chairs of the early twentieth century, in solid blond walnut. Shaped oval shaped table, wit...

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 ...

This magnificent and elegant tilt top oval table, has the top hand made in a selection of briar root and the central foot id finely hand-carved in walnut and it is an example of the...

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...

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...

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...

The Archi Round Dining Table by Storagemilano features a sculptural base composed of four legs that converge to form a series of arches inspired by Renaissance vaults, creating an ar...

The Babà 878 dining table designed by Emilio Nanni features a softly rounded, curvilinear shape that blends contemporary design with Mediterranean influences. It has a beige Daino R...

This table designed by Vittorio Dassi seamlessly blends meticulous craftsmanship and aesthetic research typically of 1960s Italian Design. Its sleek, minimalist silhouette is made in...

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...

Meroni & Fossati table, in walnut and walnut briar, 1930s.

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...

Dining table in teak, Denmark 1960s With two leaves of 50cm each

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

Scroll down and click "view all from Seller" to see more than 400 other unique products. (1.8) Table made with solid wood top, geometric iron base with visible welds and special sha...

Scroll down and click "view all from Seller" to see more than 500 other unique products. (2) Royal, dining table in glass or ceramic top. The top can be rectangle or tonneau shape. ...

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...

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...

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, ...

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 ...

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...

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 ...

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...

For No One Dining Table by Gio Pagani Dimensions: Ø 180 x H 74 cm. Materials: Calacatta Viola Marble and matte black metal. In a fluid society...

Extraordinary oak table with shaped uprights and ribbon motif in the style of the period, top with shaped thickness. Italian manifacture, 1940s.

Travertino silver refined contemporary marble dining table 250/75 Dimensions: 250 x 160 x 75 cm Materials;...

Steel base and smoked glass top. The height may be adjusted by turning the ball. Glass in perfect condition Measures: Dining table height 75 cm Coffee table height 46 cm Diamete...

Marble "Planalto" coffee table - Giorgio Bonaguro Dimensions: D 120 x W 80 x H 35 cm Materials: Stardust marble, burnished metal Available in other marbles and metal finishes. ...

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 ...

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...

Scroll down and click "view all from Seller" to see more than 500 other unique products. (2) Royal, dining table in glass or ceramic top. The top can be rectangle or tonneau shape. ...

Splendid finishes and a modern flair make this table a superb addition to both an indoor or outdoor contemporary area. Finished in an elegant matte tobacco shade, this table is craft...

Timeless elegance and refinement define this gorgeous dining table, apparently simple and clean but minutely handmade of first-rate materials following traditional methods. Boasting ...

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...

Massive round dining table seating four comfortably. Pastel salmon-colored marble base and chrome-plated steel supports. Transparent tempered glass top. Attributed to Giotto Stoppino...

Grey Saint Laurent refined contemporary marble oval low table 130/27 Dimensions: 130 x 27 cm Materials: Grey Saint Laurent Angelo is the essence of...

Simple yet austere, this table displays an elaborated construction with four elements at the base and a round top that are assembled to create a striking sculptural look that will elevate the style of a rustic and modern dining room decor...

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...

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

Refined contemporary marble dining table 130/75 Dimensions. D 130 x H 75 cm Angelo is the essence of a round table in natural stone, a sculptural shape in robust material with eleg...

Caruso St John’s architecture is known for fine detailing and intelligent use of materials, and table shares those hallmarks, with layers of engineered timber creating a design that ...

A Sculptural Expression of Movement. Defined by soft curves and precise cuts, the Gesto side table captures the essence of motion within stone. Its design evokes the imprint of a ges...

1970s Dada international chromed legs and rounded etched glass Table . This table has been realized by dada International and it is 152 cm diamete...

Silös is a collection that brings together the attraction for abandoned spaces, for metal, mechanics, and for the industrial architecture of Milan. These elements come to life in the...

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 ...

COD-1985 Melchiorre Bega (1898-1976) Table in lacquered wood with three-spoke base in brass. Manufacture Bega & C. Bologna 1950s.

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.   

Dining Table in Carbon Fibre and Metal, with decorated top. 99 numbered and signed copies

COD-1753 Elegant dining table with legs and ribbed wood bands and a nice mirrored glass top. Borsani, Varedo, 1940's.

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

Port Saint Laurent refined contemporary marble dining table 250/75 Dimensions: 250 x 160 x 75 cm Materials: Port Saint Laurent marble. Angelo is the essence of a round table in natu...

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 ...

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...

Scroll down and click "view all from Seller" to see more than 400 other unique products. (1.8) Table with top in solid wood, in glued slats with squared sides, supported by two tres...

LE VOLTE CHE MI SEI MANCATO... A truly eclectic dining table from the "Parlami d'amore" Valentina Giovando's collection. A piece of art more than a dining table, it has an exclusive...