Animal Skin Dining Room Tables

Lacquered goatskin dining table with two refractory leaves, (18" each) opens to total L 108" (closed 72") Checkerboard top, rests on gold gilt ball supports, on squared tapered legs....

Brutalist so called Guaruja round pedestal table designed by Jorge Zalszupin and manufactured by his own company l’Atelier, Brazil 1959. This stunning large dining table has a rosewo...

Conical table leg seeks guests. One of the great passions of our master craftsmen is to experiment with leather as a material, always treading new paths. In the case of DS-615, they ...

The iconic Guarujá is a table designed by Jorge Zalszupin (1922-2020) in 1959 and produced by his company, L'atelier. A rosewood patchwork top rests over one concrete base finished with leather. This patchwork solution is present in other pieces designed by Zalszupin. Modern design taught us about using the material rationally, having the design as a tool to avoid waste. Aesthetically, the patchwork explores the different tones of the Brazilian rosewood beautifully, achieving a unique result. At the time, the Guanabara table was presented as a dynamic piece that could be used in the corporate spaces (as a meeting...

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...

McGuire Organic Modern Rectangular Bamboo Dining Table Base for Glass Top (not included) designed by John McGuire. Created for use with a rectangular glass top, the base features eig...

Ferreirinha Dining Table, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Ferreirinha marble dining table pays homage to Antónia Adelaide Ferreira, a vi...

Large gymnastics bench from the 1950s. It can be used as a dining or central table in your room. This old gymnastics bench was made in the former Czechoslovakia and is made of leathe...

Very rare expandable dining table designed by Edward Wormley for Dunbar, 1950s. Walnut with black leather anklets and brass hardware. The table starts...

Mid-Century Modern lacquered beige goat skin dining conference table. Karl Springer decor attribution.

Jumandie Seys is a Belgian artist and interior designer whose work straddles the boundary between art and design. In his quest for pure expression of form and material, he creates ob...

1950's Stitched leather small diner table, or writing table by Jacques Adnet Cow leather and tainted pearwood

Conference table, Carrara marble, walnut, iron, Italy, 1970s.  This captivating oval table from Italy serves as an ideal choice for either a conference or a dining setting. It achie...

Mid-Century Modern thick glass bamboo frame McGuire dining conference table.

An Edward Wormley walnut extension dining table designed for Dunbar in the early 1950s. The dark walnut base sets on four leather cased feet contrasts with the walnut top which is a ...

Luigi Massoni for Poltrona Frau, dining table model ‘Dinette’, leather, smoked glass, Italy, 1972 A remarkable Dinette dining table, designed by Luigi Massoni for Poltrona Frau in 1...

Racetrack dining table with top in lacquered goatskin with 2 half-moon brass bases by Karl Springer, American 1970's. The goatskin finish is both luxurious and stunning. The custom b...

Conical table leg seeks guests. One of the great passions of our master craftsmen is to experiment with leather as a material, always treading new paths. In the case of DS-615, they ...

Very rare Aldo Tura goatskin or parchment dining table. The striking red colour is a real eye catcher Dining tables from Aldo Tura are very rare to find. Good condition, with no...

Fine Italian Mid-Century ight brown "Goatskin" Game Table/Extension Dining Table (ALDO TURA) Length with extension: 72"

Contemporary leather round dining table - Scala by Stephane Parmentier for Giobagnara. The object presented in the image h...

Prime Dining Table by Doimo Brasil Dimensions: W 220 x D 120 x H 75 cm Materials: Base: Natural Leather, Top: Veneer. Also available in other dimensions. Please contact us. With ...

We are delighted to offer for sale this exquisite, hand dyed brown leather extending dining or library table 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 library or dining table, it sits very nicely as a medium sized round table...

Dining table with structure in polished stainless steel with black glass top. Legs covered with capitonated black genuine leather (Cat C). Available in: L201,2xD112,2xH76,3cm, price...

An oval, vintage Mid-Century modern Italian extendable dining room table made of hand crafted polished, partly veneered Sapelewood, ...

Mid-Century Modern Enrique Garcel designed dining table for Jimeco Itda This fine one of a kind parchment / goat skin and brass diamond inlaid dining table bears the label for JIMECO Columbia. This custom made dining or conference table is done in the signature Jimeco Charcoal Grey Parchment finish on the entire base as well as the table top. The table top off set with brass diamond inlaid designs. JIMECO is a family tradition of bespoke elegant finishes, joinery and furniture that has been showcased in the finest interiors around the world since 1975. Working with the best interior designers...

This statement midcentury round table boasts a sleek, cylindrical, chrome-plated base that exudes a strong sense of modernity and sophistication. The flat surfaces of the table are d...

Prime Dining Table by Doimo Brasil Dimensions: W 220 x D 120 x H 75 cm Materials: Base: Natural Leather, Top: Veneer. Also available in other dimensions. Please contact us. With ...

Antique dining table in mahogany with inlaid wood and leather, from the 1920s.

COD-1026 Table with four tapered legs and cloverleaf top veneered in walnut with parchment profile. Italian manufacture, ca. 1950.

The "Guarujá" dining table, conceived by Jorge Zalszupin, stands as a resplendent testament to the mastery of Brazilian design. Drawing inspiration from the serene beauty of its namesake - Guarujá, a renowned Brazilian beach...

his is for an ultra-rare model PK40 dining table one of the last designs by the hand of Poul Kjaerholm and manufactured by Ejvind Kold Christensen, Denmark 1979. The PK40 is a unique version of Poul Kjærholm’s square conference table...

Lune Table, in Gold Limed Oak, Bronze, and Leather Details, Handcrafted by Duistt The Lune table is a perfect example to show how well-mixed materials can work together to create a ...

Handsome bamboo rattan rectangular dining table made in the California organic modern style by McGuire. Genuine McGuire model #MCBA22 with an iron frame painted golden gate orange...

MISE EN SCÈNE. Designed in England. Made in France. *Our items are customisable in finish and size. Made to order pieces. Each piece is numbered, signed and comes with a certificat...

Conical table leg seeks guests. One of the great passions of our master craftsmen is to experiment with leather as a material, always treading new paths. In the case of DS-615, they ...

Raw Cabinet by Atelier V&F Limited Edition Of 8+2AP Pieces. Dimensions: D 55.5 x W 100 x H 190 cm. Materials: Goatskin offcuts and suede. Inspired by the earth goddess Gaia,「Revelat...

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 ...

Jumandie Seys is a Belgian artist and interior designer whose work straddles the boundary between art and design. In his quest for pure expression of form and material, he creates ob...

Contemporary round leather dining table - Bivio by Stephane Parmentier for Giobagnara. The object presented in the image has following fini...

Jumandie Seys is a Belgian artist and interior designer whose work straddles the boundary between art and design. In his quest for pure expression of for...

Rare dining table designed by Elias Svedberg. Produced by Nordiska Kompaniet (NK) in Sweden.

Table rectangulaire de Guido Faleschini pour Mariani, Italie, 1970. Le mobilier de cette gamme désigné par Guido Faleschini était distribué par Her...

An exceptional 1920's dining table with 6 dining chairs. The set is made of burr walnut with the chairs having light cognac suede seats and gold gilded legs. This set has been res...

Contemporary leather rectangular dining table - Scala by Stephane Parmentier for Giobagnara. The object presented in the i...

Our Wave dining table shown with a white oak top, suede upholstered bases and brass terminations. All of our pieces are made to order with custom ...

This amazing collectors piece of Post-Modern design is an original 1980s production of the 'Zabro' chair (which easily transforms into a table) designed in 1984 by Alessandro Mendini...

Tim Vranken is a Belgian furniture designer who focuses on solid, handmade furniture. Throughout his designs the use of pure materials and honest natural processes are paramount. The...

We are delighted to offer for sale this absolutely stunning original William IV Rosewood and gold leaf embossed green leather Library or dining table with ornately carved pedestal base and tilt top A very good looking well made and decorative piece, hand carved in rosewood, the base is very typical of the William IV era, with the original engraved brass castors and finished with a full hide green leather top that has gold leaf embossing. The table as mentioned is a tilt top, the idea being it could be used as a centre table during the day and a draft excluder...

The iconic Guanabara is a table designed by Jorge Zalszupin (1922-2020) in 1959 and produced by his company, L'atelier. A rosewood patchwork top rests over one concrete base finished...

We are delighted to offer for sale this sublime circa 1880 refectory Library Dining table with tapered legs and hand dyed Regency green leather top. This table is simply stunning ...

in the style of Aldo Tura lacquered parchment center or dining table. Top in glass with mirror panel. Wear of age and use on the mirror a...

Sicis is delighted to welcome you at ‘Home’. The classically inspired extent in contemporary plays an eclectic style, elegant and refined. Interiors express personality. A constant...

This exquisitely crafted dining table, designed by Joaquim Tenreiro (1906-1992) in 1947, evokes a refined coexistence of traditional values and modern aesthetics. Its delicate shapes...

Mid Century Rattan Dining Table, attributed to The McGuire Company, Asian, circa 1960s. Please see our Gabriella Crespi dining chairs on 1stdibs t...

Amazing genuine McGuire organic modern bamboo rattan dining table or center table featuring a hexagonal base. Genuine McGuire, not a reproduction with an iron frame painted golden gate orange...

They can be sold separately Midcentury dining room set Melchiorre Bega attributable, from Cantù, in mahogany and burl mahogany Precious and ...

Dining Table in Rosewood and Leather by Arne Vodder, 1950's Additional Information: Material: Rosewood, leather Style: Mid century, Scandinavian Rare dining table model 212 Produced...