Leather Tables

Mid-Century Mahogany and Leather Top Single drawer English Silver Table or Side Table. Velvet lined drawer. Magogany and leather Banded top and drawer front. Measures 22" in width, 1...

Black designer writing desk / bureau plat in Louis XV style Piano black veneer on solid softwood with rocaille applications. extremely Fine, flo...

The Giada Table features an upholstered top in the fabric or leather of your choice with an elegant bronze trim and a hand carved wood base shown here in a metallic finish. Measur...

As shown: Bleached ash veneer with solid ash, marble and inset leather blotter. Poplar drawers with turned brass drawer pulls Powder coated steel base Flat waterborne finish D...

A well kept 1960s Regency Mahogany and Tooled Leather Stencil tripod Pedestal Tea Drum Table with brass paw feet. Measures 25.5" in diameter and stands 27.5: tall.

This rare round cabinet on invisible wheels designed by Osvaldo Borsani for Tecno is made out of lacquered plywood, laminate, leather and steel. The dark grey lacquered plywood inter...

Mid-Century Modern Glass Top Lucite Coffee Table, 1970s, with leather details at corners. 18" H x 53.5" W x 36" D. Provenance: From an Upper East Side Estate.

Genuine McGuire bamboo rattan dining table base, for use with a round glass tabletop. This organic modern table base, from a design by John M...

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 ...

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

Great Karl Springer Embossed Leather Table. Karl Springer label below

Welcome inside Pinetti smoking accessories collection with Vento ashtray. A stainless steel round revolving ashtray with the properly right spaces ...

A Rare and Elegant French Midcentury Modern Solid Bronze Console by Cartier, Paris. The piece is an exquisite minimalist classic with pure lines and form; the design is attributed to the French luminary designer, Jacques Quinet. The presentation is effortless and understated. The four legs are gently tapered and support a cantilevered top with inset Italian grained black leather. The patina is soft and subtle befitting the timeless quality of the work. Over 100 pounds of bronze were used in the casting and the piece is engraved, Cartier. Works like this are rare to find their way to the public domain for sale and this is a unique opportunity to own part of Cartier's elite history of design. Dimensions: H 29.75 x W 23.75 x D 14.75 Additional References: Hermes, Louis Vitton, Gucci, Marc du Plantier, Jacques Quinet, Emille-Jacques Ruhlmann, Jean-Michel Frank, Cartier Love Ring and Bracelet, Cartier Trinity Ring, Earrings and Bracelet, Cartier Santos Automatic Watch, Cartier Pantere Watch, Necklace, Watch and Earrings, Ballon Bleu de Cartier Watch, Baignoirie, Cartier Love Watch, Cartier Calibre Watch, Cartier Tortue Watch, Cartier Santos Chronograph...

This desk was inspired by traits of Art Deco and architecture typical of the Japanese city of Nara. Its graceful frame in glossy, tobacco-finished walnut boasts slender, tapered legs...

Desk Strada with structure in solid wood covered with bronze plates in brush finish with 2 different shades of brushed bronze finish. Desk pad covered with high quality genuine s...

French Empire Bureau Plat of Stately Size, the top inset with a dark leather writing surface surrounded by a stenciled gilt border, the frieze containing a center drawer flanked by s...

Dramatic 19th century English library table, writing table, or desk hand-crafted from oak. The table features a trestle style base with Greco-Roman corinthian columns in the neoclass...

A fabulous 19th Century French Empire style well figured mahogany office desk, finely hand carved and of exceptional quality with rich patination, grain and decorated profusely with ...

Beautiful set of two suitcases made of cream leather and parchement, France, 1930s-1940s. Metal locks and studs and leather handles. The small one is made in vellum. The large one is...

An impressive stylized writing desk by Maitland Smith. Great Egyptian Revival design. Faux Ostrich finish with wonderful iron cat legs. 2 deep shallow drawers with faux leather finis...

Leather Top Chippendale Style Ball & Claw Feet Backgammon Chess Game Table MINT!

Jacques Adnet (1900-1984), rare sewing box in topstitched fawn leather, structure in black lacquered metal and gilded brass, Compagnie des Arts Français, 1950. The work box is fixed ...

A 19th-century style Campaign desk, the flip-top revealing a fitted interior, slide-out tooled leather writing surface, raised on splayed legs with a stretcher. Dimensions: 29.25"...

Arne Jacobsen 'AJ52' Desk with Lamp in Oiled Oak & Leather for Carl Hansen & Son The story of Danish Modern begins in 1908 when Carl Hansen opened his first workshop. His firm commi...

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...

Victorian late 19th century carved oak pedestal desk circa 1890. Good quality pedestal oak desk, comprising of 3 sections.  Shaped top with original leather insert.  Single drawer a...

The ZOË Nightstand is made to order to stylishly store your everyday and special items. With solid wood drawers lined with Suede veneer and a floating design, it exudes luxury. Perso...

Mid 20th century Empire style leather top desk constructed with hardwood and burl wood veneers featuring ormolu, three drawers and stretcher.  

An Italian smaller-sized writing desk with storage hidden beneath top from the 19th century. This super cute desk, or occasional table from I...

1920s cast iron and wood industrial examination side table by Karl Manufacturing Co. Recently salvaged from downtown Buffalo NY opticians. Nice vintage condition.Retains original red...

The perfect complement to the New Moon seating series, this stunning console hand a mid-century inspiration revisited with modern and exclusive details in satin bronzed brass. Ideall...

French Directoire (Late 18th Century) mahogany and bronze trim desk with a black leather top having 2 extending side surfaces surrounded by a shallow reticulated brass gallery, havin...

Member of the Brooks Gentleman Club, Edmund Burke was an Irish statesman, philosopher, and political theorist, known for his influential writings on aesthetics, conservatism, and the...

Fine Georgian (Regency Era) hardwood and leather library steps (doubles as an end table) - exceptional bench made quality with warm aged patina - featuring a solid wood frame with on...

A gorgeous trompe l'oeil faux stack of books side table with storage USA, Circa 1980s Measures: 23.25"W x 17.25"D x 19.25"H. Good original vintage condition.

Karl Springer - Authenticated 1977 Extremely Rare Goatskin Backgammon Game Table Parsons Style Backgammon Table with Cover Bakelite Game Pieces All Original Condition Beautiful...

Belgium / 1935 / De Coene / Dining room set / wood, leather, silver / Art Deco This exceptional 1935 Art Deco dining room set by the renowned Belgian manufacturer De Coene exemplifi...

Rectangular removable green leather top with reversible felt playing surface , exposing a backgammon playing surface. Opposing chip drawers and raised on square tapered fluted legs e...

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...

Jacques Adnet French leather & glass side table France, circa 1940s This charming side table has clean lines and looks great from every angle Sleek iron frame is encompassed with bl...

We delight to offer for sale this fine Mahogany twin pedestal desk , manufactured by Theodore Alexander after a design by Thomas Chippendale , the rectangular top inset with a gilt t...

Desk, leather, coromandel, oak, Netherlands, 1920s This distinctive desk was crafted in the Netherlands during the 1920s and exemplifies the Amsterdamse School movement. Made from o...

Arthur Umanoff 50s Mid-century Writing Desk in Wrought Iron, Wood for Elton Offered form sale is a rare Midcentury Modern quintessential 50s design Arthur Umanoff writing desk for...

Small Black Leather Top One Drawer Cabriole Carved Leg Chestnut Desk Console Writing Table MINT!

Exemplifying the refined elegance of celebrated designer Nancy Corzine, this vintage game table is a masterpiece of Neoclassical design. The piece features a beautifully hand-painted...

Rare and Unusual Antique English hand-carved solid mahogany and leather top Campaign Writing Table or Desk with kidney-shaped drop leaves or flaps. The desk has a flip-top fitted rear with stationary slots, pen tray, double glass inkwells with brass lids...

French 1940s ormolu mounted maple writing desk with leather inset top above 2 frieze drawers on lyre form trestle supports. (attributed to ANDRE ARBUS)

Keywords: Davenport, mid-century writing desk, leather, Cantù, Brianzolo, La Permanente Mobili, 1950s, rolling desk, veneer wood, Mid-Century Davenport desk, leather top, Cantù, Ital...

Stacking tables in the style of Jansen Feet are elegantly engraved and in very good vintage condition Leather top is also in good vintage condition and feature gold color frise on ...

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

Stunning bar cart by French art deco modernist designer, Jacques Adnet. This piece comes completely wrapped in a brown leather. Good vintage condition. Iron frame with 4 original cas...

Oversized Jacques Adnet leather and glass side tables, made in 1950s France. Classic red leather with contrast stitching throughout. Large antique brass loop on top. Two available. P...

Scroll down and click "view all from Seller" to see more than 400 other unique products. (1.8) Table with painted steel frame and inlaid saddle leather coated top. Designed by Analo...

English Regency style red lacquered chinoiserie decorated knee hole partners desk with green leather 3 panel top.

19th Century English Mahogany Drum Table with Black Leather Top

Rare and important 1945 Paul Frankl Station Wagon Nightstands/end tables for Johnson Furniture Company USA. Made from mahogany, birch, lea...

Leather, metal and wood desk with 3 drawers and a sideboard on wheels that can be moved wherever you like. Designed by Hans von Klier in the 70s. S...

A fantastic antique burr walnut leather top pedestal desk. This is in the Georgian style, it dates from around the 1930’s. The quality is superb, this has a beautiful inset leather ...

Black embossed crocodile leather desk with acrylic base. Made to order. Customization is available in different sizes and COM (Customer Own Material) for the top. 1 floor sample ...

A finely proportioned Louis XV style writing or end table in light walnut, raised on slender cabriole legs terminating in hoof feet. The single drawer retains its original brass loc...