Leather Dining Room Tables

Pierre Chapo, dining room set with bench, chairs, and table in solid elm, leather, France, 1960s Beautiful dining room set by Pierre Chapo that expresses the designer’s dedication t...

Stunning organic modern bamboo dining table base for glass top designed by John McGuire. The octagonal dining table base, crafted entirely by hand, features bamboo poles lashed in pl...

Born in Warsaw in 1922, Jorge Zalszupin arrived in Brazil in 1949 and founded L'Atelier in São Paulo — a studio that gave him full control over design and production. He worked along...

A large Imbuia and leather over concrete 'Guanabara' dining or conference table designed by Jorge Zalszupin and produced by L'Atelier, Brazil, c. 1960s.

The Benino Pergamino Table features a cast bronze base that is only partially polished in order to highlight the natural irregularities that result from the casting process. Its top,...

Iconic "Andre" dining table designed by Tobia Scarpa and produced by Gavina in Italy in 1968. The table is signed on the top frame. This gorgeous table is fully made in solid steel,...

Vincenzo Modern Square Wood & Stitched Leather Pedestal Table from Costantini 72" x 48" x 30" H as shown A modern dining or game table base with a natural leather-wrapped column w...

Genuine McGuire organic modern round dining table featuring a hexagonal shaped base. The iron base is painted golden gate orange for authenticity and then covered with bamboo poles l...

Afra & Tobia Scarpa for B&B Italia, 'Tobio' dining table, leather, red travertine, Italy, design 1974 Gorgeous dining table designed by the iconic duo Afra and Tobia Scarpa....

Code: FQ58 Period: 19th century Style: Renaissance Dining room of the School of Arts in Monza, 19th century, walnut hand-carved consists of: sideboard showcase with leaded cathedral glass; sideboard with central mirror; console with large mirror; table with 12 chairs lined leather. Measures cm (height, length, depth): sideboard with showcase...

Genuine McGuire bamboo rattan dining table made in the California organic modern style. The table features a rare, bespoke glazed fi...

inspired by the unique geometries of origami art, our mahjong table is distinctly modern in spirit. hand-crafted in solid ash wood and completed with an ...

Genuine McGuire bamboo rattan dining table made in the California coastal organic modern style. The table features a large elongated...

Very large 80" round octagonal beveled glass top leather strapped bamboo McGuire dining table.

Stunning bamboo rectangular dining table made in the California organic modern style by McGuire. This is a genuine McGuire model # MCBA22 with an iron frame painted golden gate orange for authenticity. The table features a geometric design base measuring 46 inches wide and 21 inches deep covered with tobacco colored bamboo poles...

Tavolo “Gritti” – Carlo Scarpa per Simon Gavina Progettato nel 1976 dall’architetto veneziano Carlo Scarpa in collaborazione con Simon International (l’etichetta di Dino Gavina dedic...

Museum‑Level Jacques Adnet Leather‑Wrapped Dining Table, Rare Round Form, 1950s A truly exceptional Jacques Adnet masterpiece, this round dining table represents the pinnacle of the ...

This sculptural dining table is a splendid piece of furnishing to gather around. Its intriguing profile is marked by smooth and dramatic curves in a design that will take center stag...

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

Glass dining table designed by Vittorio Introini, made in Italy in the 1970s. The table has a smoked glass top of 15 mm thickness. Supporting structure is made of chrome-plated m...

Original vintage 1970s monumental sized genuine McGuire dining table featuring an 96 inch long rectangular beveled glass top. The base is constructed from an iron frame painted golde...

Genuine McGuire round dining table featuring a square base. The base is created from an iron frame painted golden gate orange for authencity...

Large round marble dining table custom made for a client that needed to downsize to a smaller table. Palisandro Bluette marble polished top with gorgeous white streaking throughout. Has four cylindrical steel legs wrapped in dark grey leather and capped on the bottom with antique brass cylindrical...

A playful and graphic layering of marble patterns utmost depicts the ALTIS aesthetics. Hues of blushes and burgandys are reflected amidst the marbles, leathers and metals that compri...

Dining or conference table, walnut, cognac leather, Italy, 1960s This furniture piece's versatility is due to its substantial size, making it an optimal option for various functions...

Fabulous 410 cm long Dining table and 10 chairs ‘Darby’ by Torbjørn Afdal for Bruksbo Norway, 60s Torbjørn Afdal (1917-1999) designed several dining tables in different sizes; this...

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

Jacques Adnet (1900-1984), Dining table with a circular sycamore veneer top featuring a leather disc in the center, resting on cylindrical legs with brass sabots connected by a cruci...

A round dining table with a marble top, featuring a saddle leather-wrapped structure and a metal base. The table's elegant marble surface gives it a sophi...

A superb expression of creativity and craftsmanship, this table of the Bivio Collection is characterized by an intriguing base constructed of three folded wooden slabs lined in red s...

Scuderia dining room set, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Composed of 5 mod. 783 “Kentucky” dining chairs...

Great leather top table with chrome base. Leather has a green brown color with a rich patina. Please see pictures. High-quality. Ready for a new home.

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...

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...

Also available in 200cm or 240cm width.Prices vary dependent on the chosen size, color and material. The design approach that in 1977 led Mario Bellini and Cassina to clad the stru...

The iconic Guanabara Table, designed in the late 1950s by Jorge Zalszupin (1922-2020) and crafted by his L' Atelier is a rare and exceptional example of mid-century modern Brazilian ...

21st Century Lune Table, in HG Lacquered Wood and Bronze Details, by Duistt The Lune table is a perfect example to show how well-mixed materials can work together to create a truly ...

Rare Pierre Chapo attributed desk, France, 1960s. A superb, possibly one of a kind piece, with an extremely pleasing tone and patina. Fast shipping worldwide.

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

De Sede DS-615 Dining Table in Cigarro Leather and Sahara Noir Stone Top Ø180cm. Switzerland. New, current production. This Jorge Zalszupin like design by Mario Ferrarini is truly m...

Classic top of the line McGuire leather wrapped bamboo dining table base with exemplary craftsmanship and style.

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...

The Artona dining table, designed by Afra Scarpa and Tobia Scarpa for Maxalto in the 1970s, stands as a refined and iconic example of Italian modern design from the period. Combining...

One of the most elegant and innovative 20th-century French furniture designers, Jacques Adnet created a simple, unadorned signature style that is both trim and vigorous. He began his career in the heyday of the Art Deco era, and in the 1950s, in association with Hermès, created chairs, lamps, desks and other pieces that employed slender metal frames clad in stitched saddle leather. With such furnishings, Adnet brought a fashion sensibility to design and decor that had not been seen since the 1920s prime of the great Paris couturier-decorator Paul Poiret. Original vintage wicker covered...

Exquisite Sculptural Vintage Italian Burled Wood Tooled Leather Featuring Diamond Pattern Leather Table Top Dining Table or Desk by Guglielmo Ulrich, Unsigned The Table Made in Ital...

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...

An exceptional and highly refined extendable dining table by Vladimir Kagan, featuring a spectacularly figured rosewood top, leather-wrapped architectural base with chrome banding, a...

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...

Designed for use with a glass top, this bamboo rattan pedestal dining table base is marked McGuire San Francisco and has the original cerused washed finish. The organic modern base i...

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...

An exceptional circular dining or center table by McGuire, circa 1990. The table base is 44 inches in diameter. Stout, heavy steel frame construction veneered in bamboo; leather wra...

Mid-Century Modern lacquered parchment square dining table or card table. High quality thick lacquer finish over real parchment.

Amazing 1970's Mid-century modern cerused oak and steel dining table designed by Romeo Rega for Mobel Italia, fully restored with minor wear and patina due to age and use, the table ...

Mid-Century Modern chrome and tempered glass parsons style dining table by Tri-Mark having leather button straps that attach the glass to the frame. In excellent condition with no ch...

A fine Palecek French Regency style center or pedestal dining table of faux bamboo & braided rope styling accented with leather joinery in excellent vintage condition. Table dimensi...

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...

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

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...

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...

Gorgeous organic modern glass top dining table or center table made by McGuire. The table features a bamboo rattan pedestal base with a w...