Leather Tables

Impressive Louis XV desk/reception table, after F. Linke, Paris Solid beech wood and veneered. Multiple curved and cambered body with fine inlay wo...

Antique Pair of Louis XVI style console, with cognac leather top and gold brass and bronze details. The feet are fluted and finished with golden bronze clogs. To be placed against...

A stunning antique French kidney shaped leather top desk, dating from around the 1930’s period. It is of fabulous quality, with a solid birch construction and contrasting veneers of...

Console Table Grace White Marble Low with wooden sides covered wiht genuine grey leather with polished brass trims and with white and grey marble top. Bottom top in smocked glass.

A Louis XVI style French three drawer mahogany bureau plat desk having extensive bronze decoration, finished rear and gilt embossed leather top circa 1930. Kneehole Dimensions: 26" X...

This gorgeous, leather covered coffee table is an exemplary example of Classic Maitland-Smith craftsmanship. The coffee table is covered ...

Danish Modern mahogany dining chairs by Frits Henningsen, Denmark, circa 1930s. They have probably been refinished and reupholstered at some point. Beautiful caramel color leather se...

We are delighted to offer for sale this extremely high quality hand made Victorian Mahogany pedestal desk with green leather top and hidden wri...

A very fine and large French 19th century Louis XV style gilt bronze-mounted kingwood and walnut bureau plat by H. Conquet after a model by Charles Cressent. The shaped rectangular t...

a pair of hexagonal center tables, pinewood with leather top, lovely patina on wood and leather...

A beautiful and very unusual antique early Victorian architects desk. This was made in England, and I would date it from the 1840-1860 period. It appea...

Very nice stitched leather desk Covered with navy blue leather, chromed metal 3 drawers.   

A very rare late 19th Century richly patinated and beautifully figured mahogany desk by 'Millar and Beatty, Dublin'. This stunning piece is of excep...

Antique English Mahogany Library Steps circa 1880

The Iconic Jean Pierre desk named after the famous actor Jean Pierre Aumont is an handcrafted desk in solid walnut with black or brown leather insets,...

Chiado Console, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Chiado console table honors Lisbon’s historic quarter, capturing the essence of its arti...

Pair of customized, art deco nightstands or end tables designed by Gilbert Rohde feature rounded edges typical of his streamlined American moderne designs. These satinwood nighstands...

Crafted from high-quality wood, this table boasts a luxurious figured walnut finish that exudes timeless sophistication. The top is adorned with a rich black leather surface, providing a smooth and stylish area for writing, reading, or working on your laptop. The table features two spacious drawers, adorned with elegant brass handles, offering convenient storage for your writing essentials and office supplies. The classic design is complemented by slender, square tapered legs with brass-capped feet, adding a touch of traditional charm to any room. Perfect for a study, home office, or living room, the English Leather Top Writing Table...

DS-615 coffee table by De Sede Designer: Mario Ferrarini Dimensions: 41 x 36 x 60 cm Materials: Leather, stone or metal Prices may change a...

Contemporary Modern Lauren Coffee Table in Leather & Marble by Collector Studio A center table with special light reflections that enhance the exclusive...

This glass-topped coffee table utilizes the signature belts from the Stephen Kenn Inheritance Collection stretched across an antique nickel-plated steel frame. Every Stephen Kenn...

1950's Stitched leather and tainted pearwood dining table or writting table France

A Late 20th Century Pedestal Tripod chocolate and Stenciled Tooled Leather Top Mahogany Candle Stand. Measures 13" in width, 13" in depth and 20.25" in height.

Rococo style writing desk mounted with gilt bronze French, late 19th century Measures: Height 78cm, width 134cm, depth 64cm This superb ...

Pair of side tables or side bed tables all covered with stitched leather Designed by Jacques Adnet France.

French double level modern neoclassical coffee table manufactured by Maison Ramsay for Maison Jansen in gilt iron with delicate line and tapered legs. The table features a gold embos...

We are delighted to offer for sale this exceptionally rare Gothic Revival circa 1840 solid oak partner desk with top drawer writing slope and side bookcases made by either Gillows of Lancaster or Pugin Where to begin, this desk has been on a journey, when I first received the piece it looked like it had been French polished and waxed around 20 times, it had a very clumpy sticky finish, my restorers have stripped back all that horrible guck, they have then lightly stained and French polished it the correct way which has kept all the period patina and simply made it golden, The leather top and writing slope top has been replaced with fully aniline natural cattle hide leather that was plain, I’ve then had my leather polishers dye it this gorgeous whisky brown colour. Lastly there was various small timber repairs which have been done with antique timber...

Pair of French-style 19th-century petite end tables in the manner of Maison Jansen with brass filigree ribbed edging and acorn finials. Both have tooled cream leather tops and shelve...

Deco style desk on aluminum metal base with single drawer. Glass top protector over the leather writing surface. Drawer has an attractive acrylic handle. Please confirm location NY o...

Unique coffee table commissioned by Alberto Pinto in the 1990s for the decors of an hotel particulier in Paris 16ème, inspired by a Paul Dupré-Lafon coffee ta...

1950's Stitched leather side table by Jacques Adnet France Great condition

Offering One Of Our Recent Palm Beach Estate Fine Furniture Acquisitions Of A 1800s French Blacksmith Bellows Coffee Table With a custom-made wrough...

Jacques Adnet, folding game table in lacquered metal, brass and stitched leather, France 1950. The top is lined with green felt, surrounded by a stitched and studded leather border. ...

The new project with Studiopepe is a collaboration with designers Arianna Lelli Mami and Chiara Di Pinto, the creative minds behind the consultancy. Pastilles is a collection of small armchairs, ottomans and coffee tables...

A Georgian Style Tooled Leather Inset Mahogany Demilune Drop Leaf Coffee Table on wheels. Measures 58" in width, 32" in depth with leaves open, 22" ...

This magnificent console is shipped as professionally photographed and described in the listing narrative: Meticulously professionally restored and completely installation ready. A ...

The Magrini Stool was designed in 1963 by Sergio Rodrigues and produced by his company, Oca. These pieces are composed of a solid Rosewood structure w...

Pair polished iron drinks tables with ring decoration and black distressed leather hand stiched tops so as to look vintage.

This beautiful chesterfield desk has a characteristic and striking appearance. It is a true eye-catcher and a fantastic addition for enthusiasts. The desk features four drawers on th...

18th Century English Small Mulberry Drum Table with Inlay & Leather Top

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...

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 ...

A very rare 19th Century well figured flame mahogany leather top drum centre table of grand proportions. This exceptional piece is finely hand carved with stunningly rich patination...

19th century William IV rosewood library table. The rectangular top with rounded corners features a red tooled inset leather writing ...

A very smart and well made antique Victorian Walnut leather top pedestal desk. This was made in England, it dates from around 1890-1900. It is of lovely quality and is a useful size...

Convertible original Art Deco Games Table from France around 1930. Black piano lacquer surface, high gloss polished. The top plate can be rotated and folded to enlarge the plate. Whe...

For nearly twenty years, the Giobagnara brand has combined traditional know-how and leading-edge technology to produce elegance of the highest standard. With luxurious creations avai...

This large hat box features light brown canvas, leather trim and solid brass clasps and corners as well as a leather handle on the top. Beautiful and warm patina. 1 key. Original b...

Elegant Theodore Alexander leather and walnut diminutive writing desk. The central drawer with two D shaped drawers one on each side, the top w...

1950's Stitched leather and brass table by Jacques Adnet France

For nearly twenty years, the Giobagnara brand has combined traditional know-how and leading-edge technology to produce elegance of the highest standard. With luxurious creations avai...

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...

A coffee table featuring a sleek smoked glass top, complemented by a metal base that provides a modern and sturdy foundation. The design is further enhanced with saddle leather detai...

For nearly twenty years, the Giobagnara brand has combined traditional know-how and leading-edge technology to produce elegance of the highest standard. With luxurious creations avai...

Leather patchwork storage cube by De Sede, Switzerland, circa 1960s. The cube features a patinated patchwork leather exterior around the entire cube with a removable white laminate t...

Made in France. A Louis XV style desk with brown tooled leather shaped top and brass banded edge with shell form mounts on the corners. The dark wood frame with lighter wood for the ...

For nearly twenty years, the Giobagnara brand has combined traditional know-how and leading-edge technology to produce elegance of the highest standard. With luxurious creations avai...

With a rectangular top with new inset brown leather and cross banded edge over a frieze containing one long drawer , raised on circular tapered reeded legs ending on brass casters. P...