Leather Tables

Great table on wheel Stitched leather, black and burgundy Brass feet like bamboo Possibility to add a glass on the low part

For customers that require professional insured delivery we are proud to have teamed up with a nationwide professional delivery company that will assist with coordinating your delive...

A smart and very well made antique Edwardian card table. This was made in England, it dates from around the 1900-1910 period. The quality is superb and this is a lovely, petite size...

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...

A knockout of a trunk-turned-table, this early 20th-century English suitcase is pure Edwardian-era charm, embodying the refined yet adventurous spirit of the time. Woven wicker wraps...

This writing desk in walnut Canaletto wood and saddle leather harks back to the lightness and elegance of an Ionic column. A versatile and practical product which has been designed ...

Axis round table by Dovain Studio Dimensions: H 79 x Ø 120 cm Materials: Estremoz white marble, Eco leather Dovain Studio Creative direction by Sergio...

Oslo coffee table by Shou. Dimensions: W 100 x D 60 x H 42 cm. Materials: Tempered smoked glass, leather and wooden stick. The coffee table is p...

Vintage Theodore Alexander Mahogany Leather Tiered Handkerchief Game Table with 2 Chairs This set would be perfect as a small dining table, game table or crafting table. The chairs ...

Stunning and elegant Arts & Crafts Art Nouveau side table.Striking French design from the 1900s.Solid walnut base with original decorative leather top.This wonderful Arts & Crafts Ar...

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...

We are delighted to offer for sale this lovely condition large vintage Bevan Funnell green leather and mahogany extending side table This is a very well made and versatile piece w...

For FULL item description click on CONTINUE READING at the bottom of this page. Offering One Of Our Recent Palm Beach Estate Fine Furniture Acquisitions Of A Italian Tooled Leather ...

These charming center tables are iconic and sleek. Its lightness and airy look make this piece a sign of freedom, unconformity and originality. It combines a hand tailored lacquered ...

AN IMPRESSIVE LOUIS XV STYLE BUREAU PLAT /DESCRIPTION - AFTER THE BUREAU DU ROI AT VERSAILLES BY J.-F. OEBEN AND J.-H. RIESENER The rectangular top, with the outline of an arc-en-arbalète, is fitted with an embossed leather writing surface and is fitted with four short drawers on the moulded apron with opposing false drawers. It stands on cabriole legs fitted with oval biscuit panels on the sides representing the Three Graces and inlaid with marquetry panels depicting bouquets of ribbons, foliage and floral tendrils, shells, coral and draped pearls, all with berry and foliage tendrils of ribbons, the cabriole legs fitted with lion skin loops hanging down to form spiral patterned clogs. Footnotes The Bureau du Roi at Versailles is perhaps the most famous piece of furniture in the world and certainly one of the most luxurious furniture creations of the 18th century. Louis XV ordered this cylinder-topped desk from Jean-François Oeben (1721-1763), who had already completed the design and much of the production by the time of his early death in 1763. Jean-Henri Riesener (1734-1806), who married Oeben's widow and took over his business, completed the desk in 1769. The final price was 62,000 livres, one of the highest prices ever paid for a piece of furniture up to that time (for comparison, the average annual salary of a worker in the 18th century was almost 300 livres). The office kept Riesener busy for the rest of his career, as evidenced by his numerous invoices for polishing and cleaning the bronzes and maintaining the extremely complicated mechanisms (the cylinder apparently opened and the writing slide moved forward, all with a simple turn of a key - modified in the 19th century, no one has since been able to reconstruct the original mechanism). At the height of the revolutionary excitement, Riesener even covered the royal double-L monogram...

After the model by Jean-Henri Riesener (French, 1734-1806). Of the Napoleon III period, in the Louis XVI style, with fruitwood and ebony inlaid in bois de citronnier, mahogany and amaranth, with a three-quarter galleried rectangular top above a roll-top, opening to reveal a leather-lined writing slide with four short drawers and five pigeon holes, the frieze centred by a push button drawer...

Flip-top console table, McGuire San Francisco 1970 Product Details Made of bamboo with leather bindings and a wooden top. Dimensions with top open: 183 W x 73.5 H x 90 D cm Dimension...

"Shanghai" desk in Ziricotte wood, leather top and silver patined leg. The inside is made in Sycomore. There are two drawers in the structure. PLease ask for a shipping quote to get ...

Jansen style leather top with Greek key design ebonized coffee table. This interesting table has gilt gold edging and two side sliding compartments that open to a storage unit.

We are delighted to offer for sale this absolutely exquisite fully restored Victorian Sheraton Revival partner desk with oxblood leather writing surface This is pretty much the fi...

A punchy sidetable designed by Percival Lafer, Brazil, 1960. A firm and heavy object, upholstered with black leather and completed with a deep seated glass top. Additionally this str...

A highly functional and clean design characterize this desk featuring soft leather, an exotic style wood top and a sturdy metal base. Perfect for sitting down...

Stainless steel and bronze desk. With red leather top. By John Vesey.

Pair of 1950's Stitched leather side table by Jacques Adnet Formica top

Game table, openable, Boulle. The beautiful side table, from the 1800s, can be opened by making a rotation of the top. High quality, veneered in ebony, tortoiseshell and leather....

Directoire/Napoleon III style desk composed of one large center and two side dovetailed drawers. The right drawer has a divided back section with an inset tray and a horizontal panel...

Decorate a den or an office with this elegant antique side table. Crafted in France circa 1930 and square in shape with cut corners, the gueridon stands on a flat hexagonal base over...

Cognac leather, teak wood and white carrara marble deck table by Ox Denmarq Dimensions: D 57 x W 57 x H 67 cm Materials: Steel, Marble, Leather, Wood Also Available: Different tra...

Itinera 80 Coffee Table by Atlas Project Dimensions: Ø 80 x H 38 cm. Materials: Wood, brushed brass, leather, and stainless inox steel. Available in two different sizes. Please con...

A smart and very well made antique Georgian style burr yew pedestal desk. This was made in England, it dates from around the 1950’s. This is of lovely quality, the side and back are...

Chiado Console, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. Designed by Rute Martins for the Contemporary Collection, the ...

Art Deco oak and leather gueridon, circa 1930.

Churchill Center Table has a distinctive, imponent yet modest look, and it’s meticulously handmade with the rigorously selected material, allying the best in modern design and tradit...

Nice and chic lady desk by Jacques Quinet in black leather hand-stitched, feet ended in brass.

1950's stitched leather side tables by Jacques Adnet Rare in this combination of colors.  

We are delighted to offer for sale this very nice vintage mahogany & green leather topped tripod table which is designed to house magazines an...

A two-tiered carved ash coffee or side table in natural oil finish with Brickel leather planar surfaces over four swivel casters. Model 1260. Marked on underside.

Antique English Mahogany Library Steps circa 1880

Leather and chrome coffee table by Stanley Jay Friedman for Brueton. The table is dark blue leather and the base has three round weighted chrome balls.

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...

Of classical rectangular form, the four cabriole legs capped by ormolu female masks, with a further two masks to the sides, with three drawers and a leather writing surface

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...

Sierra Wooden Coffee Table With Polo Leather Strap by Cuero Design Dimensions: D 66 x W 46 x H 44 cm. Materials: Leather, ash wood, and steel. Weight: 7 kg. The origins of the ultim...

Royal House Antiques Royal House Antiques is delighted to offer for sale this absolutely exquisite Waring & Gillow Paris writing table with the original hand dyed brown leather top ...

Beautifully crafted embossed lizard leather scroll table by Karl Springer, 1988 (signed with label on bottom "Karl Springer 1988") Matching pair of chairs available separately.

Beautiful black canvas and leather trunk as coffee table / side table. France, 19th century. This trunk is all made in wood covered with black canvas. It has wooden bars, leather pr...

Alvar Aalto designed his innovative Fan Leg series of tables for Artek in 1954. This small table, model X601, was produced in the mid-1950s. It features a distinctive five-section fa...

Antiques of London We are delighted to offer for sale this Lovely Bevan Funnell Sage Blue Embossed Pedestal Desk. A well made and solid desk with a beautiful leather that I have...

Low table in mahogany wood with leather and golden vignette. Design by Jean-Michel Frank (1895-1941), made by CASA COMTE (1932-1960). The table is numbered ...

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...

Vintage French Louis XVI Style Black Leather Top Bureau Plat Desk by Simón Loscertales Bona. Item features a black tooled leather top, bronze ormolu, bronze edge, beautiful wood grai...

Designed By Ludovica & Roberto Palomba A pebble, with its imperfect regularity, now becomes a piece of furniture with the Galet design. A pebble is a surface on which a world o...

This is a stunning desk with superb bronze cast ormolu and gorgeous inlaid walnut. The leather top is in good condition with minor signs of age and use and the case will show minor s...

Elegant and timeless walnut and tooled brown leather top curved front five drawer desk or writing table from Sligh. Cabriole legs and scalloped bottom and centre drawers as well as c...

The Tambour ottoman is a welcome change from the traditional coffee table. This inviting, versatile piece can be used to sit, relax, but also ...

Emanuela Frattini (b. 1959) Rare Tray Tables, 1970 Bottega Pier Luigi Ghianda, Italy Pearwood, leather (with manufacturer's impressed label to underside) These tray tables or e...

We are delighted to offer for sale this lovely Regency style mahogany drum table with green leather top and two drawers A good-looking piece, the leather top has nicely aged, it h...

A smart and very interesting antique Georgian period writing / side table. This was made in England, it dates from around the 1790-1810 period. It is of very fine quality, the recta...

About Impatia: At Impatia each creation is a tale of excellence, driven by the core value of empathy. The human-to-human approach creates a journey of exploration, which is highligh...

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...