Leather Dining Room Tables

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...

Élysée Table by Hugues Chevalier The Élysée table by Hugues Chevalier is a sophisticated dining or conference table that seamlessly blends modernity with timeless elegance. Its ta...

Elinor And John Mcguire San Francisco 1970 Dining table Product details Rattan table with leather bindings and glass top Table dimensions 243,5 W x 74 H × 106 D Do not hesitate to c...

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...

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 ...

We are delighted to offer for sale this very well made, solid English Oak Habitat refectory dining table and eight Potocco leather and oak dining chairs This is a lovely, lightly used suite...

A beautifully grained walnut dining table with leather wrapped feet. Designed by Edward Wormley for Dunbar. Table measures 60" diameter and has a 20" leaf.

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...

We are delighted to offer for sale this exquisite, extra large, Flamed Mahogany with hand dyed green Leather top, Extending Library or Dining table A very good looking and well m...

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...

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...

Zest Dining Table Designed to withstand the rigors of outdoor use, the Zest dining table is constructed with weather-resistant materials. The marble surface is sealed to protect aga...

This barely there oak table seems to defy gravity. It’s thin, brushed charcoal gray top floats over four narrow satin stainless steel legs with genuine leather detailing. It comfortably seats eight...

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...

Axis oval table by Dovain Studio Dimensions: H 79 x Ø 200 cm. Materials: Estremoz white marble, eco leather. Dovain Studio Creative direction by Sergio Prieto, a Spanish artist...

This striking dining table embodies the rustic charm and sophisticated design of mid-century Mexican equipales furniture. Crafted around 1970, its substantial round top is likely mad...

Large genuine McGuire rectangular dining table made in the California coastal organic modern style. Crafted from an iron frame painted...

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 ...

Mid-Century Modern 'Guarujá' Table by Jorge Zalszupin, Brazil, 1960s The iconic 'Guarujá' is a table designed by Jorge Zalszupin and produced by his company, L'atelier. The table-to...

Stainless steel dining set designed by Gary Gutterman for Axius Designs in 1970s. Set includes glass top dining table and 8 chairs. All original and in very good condition.

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

Petite dining or game table with white leather top. Light wood frame and tapered legs with brass caps. Please confirm location.  

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

Genuine McGuire Bamboo Rattan Dining Table Base, for use with a Round or Square Glass Tabletop Timeless design and excellent craftsmanship from McGuire, capturing the essence of casual luxury. This organic modern table base...

Mario Bellini “La Loggia” dining table for Cassina, walnut and leather, Italy, 1977. The sculptural "La Loggia" dining table by Mario Bellini for Cassina, designed in 1977, represen...

Structure: Solid walnut. Top : Top and top edge veneered in American walnut or mable in different color of Ulivi Salotti range. For round version also available the “lazy susan”...

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 ...

An eye-catching dining table, model PK40, designed by Poul Kjaerholm and manufactured by Fritz Hansen in Denmark around 1980. This iconic and rare piece of mid-century Scandinavia...

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...

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 ...

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

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...

Guido Faleschini for i4 Mariani, dining or conference table, leather, wood, metal, Italy, 1970s This massive round dining table is designed by the creative Italian designer Guido F...

English Renaissance style (19/20th Century) oak 6 leg refectory table with brown leather inset top.

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

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 sophisticated, timeless look, whi...

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

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...

Genuine McGuire bamboo dining table made in the Califonia Coastal organic modern style. The bespoke table features a rare design seldom seen with simple X form stretchers conjoining the legs. The table has an iron base painted golden gate orange for authenticity then covered with bamboo poles lashed together with cream-colored leather rawhide laces. The base is topped with a thick, heavy pane of McGuire glass having a wide beveled edge. Sturdy and strong with excellent joinery and craftsmanship. The design is simple, grounded in organic materials with a desirable aged patina on the bamboo and leather finish. From an estate in the Napa Valley, CA. Erin Lane Estate is a 1stdibs partner and diamond seller...

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

Oskar 705 Scalene Triangular Table by Cassina. Designed by Isao Hosoe in 1991. The crystal glass tabletop is supported by three conical legs upholstered in Russian red saddle leather...

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 ...

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...

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...

Unique hand made dining tables for 2 star michelin restaurant 'De Pastorale' which ceased activities recently. These tables where hand made by an artist, specially designed for this...

Material synergy was an idea commonly experimented with in the Mid-Century and remains popular in contemporary design. The shown table is a newly fabricated custom piece, designed sp...

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 deserve all the accolades: they managed to take the idea of bringing our Artisano leather to the table and turn this into a reality. A concealed metal construction serves as a stable support for the table leg, to which four pieces of leather in the form of a cone are applied with a strap seam. Certainly, you are familiar with the spinning dances of the dervishes in their long skirts. When they celebrate their centuries-old ritual in a trance, their generous movements create a particularly impressive motif that Italian designer Mario Ferrarini could never forget. The whirling dervishes provided the inspiration for a conical table leg in which four pieces of ARTISANO leather are joined by hand with carefully applied cross stitching – the strong, shaping features of this leather are ideal for the DS 615 table series – whether as an exclusive conference table or as an eyecatcher in a stylish dining room: the table invites people to discuss, laugh, consult, eat or linger, there’s never a square moment! Additional information: Material: Marble Beligan blue top with leather Additional Information: Base Characteristics Artisano: Type: Core leather Thickness: 2.4 – 2.6 mm Characteristics: Strong, firm and durable. The saddle leather is uniquely created by nature with its pattern of pores, grain and surface structure. Its qualities make it suitable for compact seating pieces or backrests as well as smooth surfaces such as bodies and sides. Top characteristics tela: The surfaces of Tela are coated with mixtures of stone or metal. Due to an intelligent and meticulously designed mix of materials the finished table tops function as a canvas to play on. Dimensions: 180 W x 74 H Available in other base upholstery options: Naturale, fango, black Available in other top options: Metal iron, marble carrara, stone coral, stone jade, stone lapislazuli, metal brass Available in other stone options: Calacatta oro, star dust, sahara noir, rosso lepanto, verde guatemala, green botanic, beola(indoor/semi-outdoor), labrador antique...

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 ...

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 ...

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 ...

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...

Vintage Organic Modern Bamboo and Leather with Glass Top Dining Table by McGuire The Vintage Organic Modern Bamboo and Leather with Glass Top Hexagonal Dining Table by McGuire exemp...

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...

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...

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

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...

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 ...

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 ...

Wicker Table with Leather Bindings and Glass Top – Studio Smania Product Details Dimensions: 250 W x 80 H x 110 D cm Matching chairs available on our storefront 1stDibs Ref: LU691124...

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 deserve all the accolades: they managed to take the idea of bringing our Artisano leather to the table and turn this into a reality. A concealed metal construction serves as a stabile support for the table leg, to which four pieces of leather in the form of a cone are applied with a strap seam. Certainly, you are familiar with the spinning dances of the dervishes in their long skirts. When they celebrate their centuries-old ritual in a trance, their generous movements create a particularly impressive motif that Italian designer Mario Ferrarini could never forget. The whirling dervishes provided the inspiration for a conical table leg in which four pieces of Artisano leather are joined by hand with carefully applied cross stitching – the strong, shaping features of this leather are ideal for the DS 615 table series – whether as an exclusive conference table or as an eye-catcher in a stylish dining room: the table invites people to discuss, laugh, consult, eat or linger – there’s never a square moment! Additional information: Material: Metal brass top with cigarro leather Base Characteristics Artisano: Type: Core leather Thickness: 2,4 - 2,6 mm Characteristics: Strong, firm and durable. The saddle leather is uniquely created by nature with its pattern of pores, grain and surface structure. Its qualities make it suitable for compact seating pieces or backrests as well as smooth surfaces such as bodies and sides. Top characteristics Tela: The surfaces of Tela are coated with mixtures of stone or metal. Due to an intelligent and meticulously designed mix of materials the finished table tops function as a canvas to play on. Dimensions: 160 W x 74 H Available in other base upholstery options: Naturale, fango, black Available in other top options: Metal iron, marble Carrara, stone coral, stone jade, stone lapislazuli, marble beligan blue Available in other stone options: Calacatta oro, star dust, sahara noir, rosso lepanto, verde guatemala, green botanic, beola(indoor/semi-outdoor), labrador antique...

re-imagining traditional oriental craftsmanship for the modern era, the hand-crafted clover mahjong table combines the timeless beauty of solid ashwood with a built-in wireless charg...

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 ...

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 ...

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...

Designed between 1959 and 1965 by the Brazilian-naturalized architect Jorge Zalszupin, the Guarujá dining table features a cement base covered in leather and a top made of parqueted ...

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...

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...

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...

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...