{"title":"Furniture","description":"","products":[{"product_id":"table-geometrico","title":"Side Table Rombi","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA Sicilian side table, cut like a gem. Hand-painted in Campofranco, each facet catches the light differently - a harlequin of cobalt, cerulean, and teal (or crimson, rust, and rose), brushwork visible, no two panels the same.\u003c\/p\u003e","brand":"Ceramica Bevilacqua","offers":[{"title":"Red","offer_id":48857984794851,"sku":null,"price":1600.0,"currency_code":"AUD","in_stock":true},{"title":"Blue","offer_id":48857984827619,"sku":null,"price":1600.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0752\/5230\/2051\/files\/TVL10060501-F.jpg?v=1776834107"},{"product_id":"tonneau-dining-table-in-rosewood-modernist-1960s-70s","title":"Tonneau Dining Table in Rosewood: Modernist, 1960s\/70s","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe boat-shaped table - tonneau, from the French for barrel - was a design problem solved in the middle of the twentieth century. Florence Knoll drew the first famous version for her own firm in the late 1950s; Eero Saarinen took up the shape soon after; Italian designers - Osvaldo Borsani, Marco Zanuso, Ico Parisi - built variations of their own. The logic was simple. Wider at the centre, narrower at the ends, the form opens the sightline across the table. Everyone can see everyone. A rectangular conference table puts people in rows; a tonneau puts them in conversation. The shape moved out of furniture studios and into the corporate boardrooms of the next two decades - Knoll's tables in particular became shorthand for the well-considered American office - and from there, eventually, into the houses of people who had grown tired of dining at a rectangle.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis one is from that period. Just under four metres of richly figured rosewood, the top quarter-veneered to show the grain in book-matched panels; the surface flares from 84 centimetres at the ends to 121 at the centre. Two chrome pedestals - square columns rising from four-armed star bases with adjustable feet - hold the weight off the floor, the table reading as light as a four-metre piece of furniture can. It seats fourteen comfortably. It will seat sixteen if everyone is friendly.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eIn original condition. Light marks to the top consistent with age and use.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eDimensions: H 0.76m × W 3.96m × D 1.21m (centre) tapering to 0.84m (ends)\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cmeta charset=\"utf-8\"\u003eEnquire about this piece via the form below. \u003c\/p\u003e","brand":"The Leopard","offers":[{"title":"Default Title","offer_id":48986853605603,"sku":null,"price":6500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0752\/5230\/2051\/files\/Screenshot_2026-05-18_at_12.29.35_pm.png?v=1779071679"},{"product_id":"osvaldo-borsani-cocktail-cabinet","title":"Osvaldo Borsani Cocktail Cabinet in Rosewood: Varedo, c.1950s","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eOsvaldo Borsani grew up among the cabinetmakers. His father Gaetano ran the family workshop in Varedo, a small Brianza town twenty kilometres north of Milan, and Osvaldo and his twin brother Fulgenzio learned the craft from inside it. By the time he graduated in architecture from the Politecnico di Milano in 1937, he had already been drawing furniture for the family firm for years. The work that followed - through the 1940s and into the 1950s, before he and Fulgenzio founded Tecno in 1953 - is Borsani at his most theatrical. Rosewood polished to a depth that catches the light. Brass details placed with restraint. Fluted facades, mirrored interiors, sculpted legs with the slight splay of a dancer's stance. He worked with artists - Lucio Fontana, Roberto Crippa, Adriano Spilimbergo - and treated furniture as a discipline closer to interior architecture than to cabinetry. The pieces from this period are recognisable on sight. They are also, increasingly, hard to find.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis cocktail cabinet is one of them. The form is in three movements: an upper bar compartment with locking doors, its interior mirrored and fitted with glass shelving; a central panel of vertical reeding, the wood worked into a fluted texture that runs the full height of the piece; and a lower bank of drawers in rosewood with neat brass pulls. The cabinet stands on tapered legs that splay slightly outward, the feet capped in brass. Open the upper doors and the interior reads as a small theatre - mirrored, lit by reflection, designed to make the bottles and glassware on its shelves the subject of the room.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eIn original condition. Polish to the surfaces consistent with age. Light marks throughout.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eDimensions: H 1.46m × W 1.79m × D 0.44m\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cmeta charset=\"utf-8\"\u003eEnquire about this piece via the form below. \u003c\/p\u003e","brand":"The Leopard","offers":[{"title":"Default Title","offer_id":48986868515043,"sku":null,"price":8500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0752\/5230\/2051\/files\/Screenshot_2026-05-18_at_12.47.04_pm.png?v=1779072512"},{"product_id":"italian-button-back-armchair-mid-century-c-1960s","title":"Italian Button-Back Armchair: Mid-Century, c.1960s","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe post-war Italian armchair was a small revolution. Marco Zanuso designed the Lady chair for Arflex in 1951 - an upholstered form lifted off the floor on four slim legs, sculpted as much as built, intended to be looked at as well as sat in. It won the gold medal at the Milan Triennale that same year and changed what an Italian armchair could be. In the decade and a half that followed, every Italian manufacturer worth the name produced variations on the idea: a scooped back, a curved arm, a body that read as a single sculpted volume, four slim painted-iron legs holding it just clear of the ground. Some of the chairs were drawn by the famous - Zanuso, Ico Parisi, Gigi Radice, Aldo Morbelli. Most were drawn by the in-house designers of workshops whose names were never on the labels. The form was the point. The form is what survived.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis is one of those chairs. A tall scooped back with two-button detail, curved arms melting into the body, the whole upholstered form resting on slim black-painted iron legs tipped in brass. Recovered in a grey chenille-and-cotton weave that suits the silhouette. Comfortable, but the silhouette is the reason to own it.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eLight wear consistent with age.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eDimensions: H 0.80m × W 0.68m × D 0.75m\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cmeta charset=\"utf-8\"\u003eEnquire about this piece via the form below. \u003c\/p\u003e","brand":"The Leopard","offers":[{"title":"Default Title","offer_id":48986871628003,"sku":null,"price":950.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0752\/5230\/2051\/files\/Screenshot_2026-05-18_at_12.55.12_pm.png?v=1779072927"},{"product_id":"a-romeo-rega-two-tier-chrome-and-brass-side-table-italian-circa-1970s","title":"Romeo Rega: Two-Tier Side Table in Chrome and Brass, Rome, c.1970s","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eRomeo Rega worked in Rome in the 1970s, in the same atmosphere that produced Willy Rizzo's furniture and Federico Fellini's late films. The city was at the height of its postwar glamour. Cinecittà was running at full capacity. The dolce vita had aged into something more confident, more polished, more international - and the furniture being made in Roman ateliers reflected it. Rega's signature was a bicolor metal detail: chrome and brass placed in deliberate contrast, the two tones interrupting each other at every corner and edge. He used the move on coffee tables, dining tables, console pieces, bar carts. It became his fingerprint. The pieces are sometimes signed and sometimes not, but the detail is recognisable on sight - the precise vertical run of chrome set against the warmer line of brass, each material kept honest by the geometry around it.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis side table is a small example. Square, two tiers, the corner posts split in chrome and brass; clear glass above, smoked glass below; the lower frame finished in brass with chrome capping. The proportions are spare - the table is a frame for the materials, nothing more.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eLight surface marks consistent with age. Patina to the brass. Some chips to the glass. \u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eDimensions: H 0.40m × W 0.65m × D 0.65m\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cmeta charset=\"utf-8\"\u003eEnquire about this piece via the form below. \u003c\/p\u003e","brand":"The Leopard","offers":[{"title":"Default Title","offer_id":48986874020067,"sku":null,"price":1800.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0752\/5230\/2051\/files\/Screenshot_2026-05-18_at_12.59.38_pm.png?v=1779073223"},{"product_id":"romeo-rega-two-tier-occasional-table-in-chrome-and-brass-rome-c-1970s","title":"Romeo Rega: Two-Tier Occasional Table in Chrome and Brass, Rome, c.1970s","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eRomeo Rega worked in Rome in the 1970s, in the same atmosphere that produced Willy Rizzo's furniture and Federico Fellini's late films. The city was at the height of its postwar glamour. Cinecittà was running at full capacity. The dolce vita had aged into something more confident, more polished, more international - and the furniture being made in Roman ateliers reflected it. Rega's signature was a bicolor metal detail: chrome and brass placed in deliberate contrast, the two tones interrupting each other at every corner and edge. He used the move on coffee tables, dining tables, console pieces, bar carts. It became his fingerprint. The pieces are sometimes signed and sometimes not, but the detail is recognisable on sight - the precise vertical run of chrome set against the warmer line of brass, each material kept honest by the geometry around it.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis occasional table is a small example. A square brass top frame sits on four vertical chrome posts; a clear glass top above, a clear glass shelf below. The proportions are spare - the table is a frame for the materials, nothing more.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eLight surface marks consistent with age. Patina to the brass.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eDimensions: H 0.48m × W 0.60m × D 0.60m\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cmeta charset=\"utf-8\"\u003eEnquire about this piece via the form below. \u003c\/p\u003e","brand":"The Leopard","offers":[{"title":"Default Title","offer_id":48986875396323,"sku":null,"price":1900.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0752\/5230\/2051\/files\/Screenshot_2026-05-18_at_1.04.39_pm.png?v=1779073585"},{"product_id":"a-mid-century-onyx-coffee-table-italian-circa-1950s","title":"Italian Coffee Table in Onyx:  Mid-Century, c.1950s","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eItalian designers in the 1950s discovered onyx the way Caravaggio discovered shadow. The stone - translucent, banded, almost lit from inside - became one of the signatures of the moderno interior. Carrara had supplied Italy with marble for centuries; onyx, harder to quarry and rarer in good slabs, arrived in workshops from Pakistan, Mexico, and the Italian Alps and was reserved for surfaces where its character could be seen. The pairing that emerged in the post-war decade was deliberate. A slab of onyx - soft, organic, geologic - set against a base of painted black iron and polished brass: hard, geometric, industrial. The contrast was the point. Earth against machine, with the brass softening the argument. The pieces tend to be small, often coffee tables or console tables, and were as common in Milanese apartments as in the rooms of the Roman dolce vita. The named designers - Ico Parisi, Carlo de Carli, Gio Ponti, Ignazio Gardella - produced versions. So did a great many workshops whose pieces stand on their own merits without a signature to confirm them.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis table is from that tradition. A rectangular slab of pale onyx - cream and grey, banded in cloud-like swirls - sits on a slim trestle base in black-painted iron, the feet capped in turned brass. The stone glows faintly under direct light; this is the quality that drew designers to it. The proportions are spare, the base nearly weightless against the weight of the stone.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eLight surface wear consistent with age. The brass has taken on a soft patina.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eDimensions: H 0.44m × W 0.95m × D 0.53m\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cmeta charset=\"utf-8\"\u003eEnquire about this piece via the form below. \u003c\/p\u003e","brand":"The Leopard","offers":[{"title":"Default Title","offer_id":48986887618787,"sku":null,"price":1400.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0752\/5230\/2051\/files\/Screenshot_2026-05-18_at_1.16.30_pm.png?v=1779074248"},{"product_id":"a-mid-century-two-tier-drinks-trolley-italian-circa-1960s","title":"Italian Drinks Trolley: Mid-Century, c.1960s","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eItaly made an art of the cocktail hour at home. The aperitivo - that interval between the workday and dinner, an hour given over to drinks and conversation in the salotto - became, in the postwar decades, a national ritual. Furniture rose to meet it. The drinks trolley, in particular, became one of the small instruments of Italian hospitality: a piece of theatre on wheels, designed to be rolled out at the right moment, to carry crystal and ice and the bottles whose labels were as much a part of the room as the host. Cesare Lacca drew the most famous versions for Cassina in the 1950s - bentwood frames in dark-lacquered hardwood, brass hardware, the legs angled like a dancer's stance. Ico Parisi and Paolo Buffa designed their own. The form was taken up across Italian workshops, and the trolleys that come down to us from this period share a recognisable language: asymmetric wooden frames, brass-tipped handles, brass casters, glass tiers held in slim wooden frames. The trolley did not need to be the loudest object in the room. It needed to arrive at the right time.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis one is from that tradition. A two-tier trolley in dark-lacquered wood with brass hardware and casters, the frame angled in an asymmetric Z that gives the silhouette its forward motion; clear glass set into slim wooden frames on both tiers; X-stretchers below each tier holding the form rigid. The brass has the warm patina of decades of handling.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eLight wear consistent with age. Patina to the brass hardware.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eDimensions: H 0.68m × W 0.92m × D 0.44m\u003c\/p\u003e","brand":"The Leopard","offers":[{"title":"Default Title","offer_id":48987169161443,"sku":null,"price":2200.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0752\/5230\/2051\/files\/Screenshot2026-05-18at4.29.26pm.png?v=1779086255"},{"product_id":"a-fully-restored-vittorio-dassi-doubled-bodied-sideboard-cabinet-italian-circa-1950s","title":"Vittorio Dassi — Double-Bodied Sideboard in Rosewood, Lissone, c.1950s","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eVittorio Dassi was a cabinetmaker before he was a designer, and the work shows it. He grew up in the Brianza cabinetmaking trade - in Lissone, the small town twenty kilometres north of Milan - and built his own firm there, Dassi Mobili Interni, into one of the most important Italian furniture houses of the mid-twentieth century. His approach to design always carried the discipline of the bench. He collaborated through his career with Gio Ponti, Paolo Buffa, Edmondo Palutari and others, building their drawings. But he also drew his own. The Dassi pieces from the 1940s and '50s - sideboards, highboards, vitrines, dining suites - are recognisable on sight: highly polished palissandro, often laid in herringbone parquetry; sculpted wood handles carved into the doors and drawers rather than applied as hardware; lacquered or parchment-lined interiors; tapered legs tipped in brass. The work has its own confidence. It does not need a designer's name on the label to identify it.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis double-bodied sideboard is one of his. An upper case with a central glazed vitrine - its doors framed in rosewood and fitted with small brass escutcheons - flanked by closed cabinet doors faced in herringbone parquetry; a separate lower base, slightly stepped back, holding a long bank of drawers, a central group with sculpted wood pulls carved into the rosewood, flanked at each end by smaller drawers with brass pulls; tapered legs in black-lacquered wood tipped in brass. The vitrine interior is finished in pale parchment, designed to display glass and ceramic against a warm, soft ground.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eFully restored. Surface and finish refreshed; original frame and hardware retained.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eDimensions: H 1.83m × W 2.65m × D 0.50m\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eEnquire about this piece via the form below. \u003c\/p\u003e","brand":"The Leopard","offers":[{"title":"Default Title","offer_id":48987192951011,"sku":null,"price":12000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0752\/5230\/2051\/files\/Screenshot2026-05-18at4.40.52pm.png?v=1779086529"},{"product_id":"mid-century-italian-pair-of-travertine-square-pedestal-side-tables","title":"Pair of Italian Travertine Pedestal Side Tables: Mid-Century","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eTravertine has been the stone of Roman building for more than two thousand years. Pliny the Elder called it lapis tiburtinus - the stone of Tibur, the Roman name for Tivoli - and the quarries at Tivoli, thirty kilometres east of Rome, have been cutting it continuously since the time of the Republic. The Colosseum is built of travertine; so are the colonnades of St Peter's, the Trevi Fountain, much of the Eternal City's civic architecture. The stone is the visible record of its own making: deposited by mineral springs over millennia, layered horizontally in bands of cream and tan, pocked with the small voids that mark where gas escaped during the slow geology of its formation. Italian designers in the mid-twentieth century brought it back into furniture. Travertine had the weight of architecture and the warmth of something domestic; it could be cut into monolithic blocks or thinned to slabs, polished smooth or left with its natural texture; and unlike marble it carried its history visibly, in those bands and voids. The 1970s in particular saw a boom of Italian travertine furniture - coffee tables, dining tables, side tables - heavy enough to anchor a room, quiet enough to disappear into it.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThese two side tables are from that period. A pair of squat travertine pedestals, each composed of a thick square top set above a heavy block base; the stone shows the soft horizontal banding and the natural pitted texture of unfilled travertine, in cream, beige, and warm tan tones. The proportions are monolithic but compact - small enough to slip beside a chair, weighty enough to feel architectural.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eLight surface wear consistent with age. The natural voids in the stone are part of the material, not damage.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eDimensions: H 0.45m × W 0.55m × D 0.55m (each)\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cmeta charset=\"utf-8\"\u003eEnquire about this piece via the form below. \u003c\/p\u003e","brand":"The Leopard","offers":[{"title":"Default Title","offer_id":48989088743651,"sku":null,"price":3900.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0752\/5230\/2051\/files\/Screenshot_2026-05-19_at_10.27.12_am.png?v=1779150521"},{"product_id":"hove-mobler-norway-attributed-a-mid-century-scandinavian-rosewood-dining-table","title":"Hove Møbler: Norwegian Rosewood Dining Table on Hairpin Legs, Mid-Century","description":"\u003cp\u003eN\u003cmeta charset=\"utf-8\"\u003eorway came late to the international Scandinavian design conversation. Through the 1950s and '60s, when Danish furniture became shorthand for modern living - Wegner's chairs, Juhl's tables, the whole curated language of teak and rosewood and quietly perfect joinery - Norway was quietly producing its own. Hove Møbler was one of the firms that did it best. Working from a workshop in western Norway, the firm built furniture that spoke the Danish vocabulary in a Norwegian accent: a touch more architectural, a touch more sober, the joinery as much the point as the silhouette. The 1960s Hove Møbler pieces - dining tables, sideboards, chairs - tend to be made in palissandro, the Brazilian rosewood that arrived in Scandinavian workshops in the post-war years and turned a generation of cabinetmakers into colourists. The wood was used for its grain. The dark stripes of the palissandro were laid across a table top like a piece of music notation, the maker reading the figure and matching the panels.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis dining table is attributed to that firm. A rectangular top in book-matched palissandro, the grain running across the surface in continuous figured panels - dark stripes drawn through warm reddish browns; the corners detailed with exposed finger-joints and small contrasting wood inlays that read as architectural punctuation; the whole supported by four three-wire chrome hairpin legs, each tipped in a small white foot. The proportions are dining-table generous - long enough for six comfortably, eight at a stretch - and the silhouette is held entirely by the line of the legs.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eLight wear consistent with age and use.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eDimensions: H 0.72m × W 1.80m × D 1.00m\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cmeta charset=\"utf-8\"\u003eEnquire about this piece via the form below. \u003c\/p\u003e","brand":"The Leopard","offers":[{"title":"Default Title","offer_id":48989092151523,"sku":null,"price":3900.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0752\/5230\/2051\/files\/Screenshot_2026-05-19_at_10.32.25_am.png?v=1779150821"},{"product_id":"khing-side-table","title":"Khing side table pair","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eIn the galleries of Bangkok National Museum, the doors carry a particular kind of image: trees rendered in gold lacquer against dark grounds, their branches reaching across idealized sacred landscapes. The technique is called Lai Rod Nam. The tree is often the Khoi - Streblus asper, a resilient native species that Thai temple-builders have cultivated for centuries, as much for what it represents as for what it is.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eRush Pleansuk looked at those doors and asked what the image would become if you gave it volume.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe Khing side table is his answer: cast brass branches forming the silhouette of a solitary tree, rising from a sandblasted brass plate whose worked surface - textured to suggest wind-driven ripples - becomes the water. The two-dimensional sacred landscape becomes a three-dimensional object you place a lamp on.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eAvailable in two heights. Cast and assembled by hand in brass. Exclusive to Australia at The Leopard.\u003c\/p\u003e","brand":"Sumphat","offers":[{"title":"Default Title","offer_id":49023125455075,"sku":null,"price":5500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0752\/5230\/2051\/files\/KHING-TABLE-2.jpg?v=1779947732"}],"url":"https:\/\/theleopard.com.au\/collections\/furniture.oembed","provider":"The Leopard","version":"1.0","type":"link"}