Important 1939 Walnut Art Deco Modern "Dashboard" Desk by Alexis De Sakhnoffsky

A fine Art Deco Ambassador desk Designed by De Coene Frères. A partner desk with bowed front and back Black lacquer with nickeled bronze details, pull...

This vintage art deco desk from United States is a stunning piece from the 1930s. Its unique design features two shaped columns, each containing four pull-out drawers, as well as an ...

DOMIN André (1883-1962) and GENEVRIERE Marcel (1885-1967) for Maison DOMINIQUE Magnificent flat desk in presidential format in thuja burl veneer designed by André DOMIN and Marcel G...

For your consideration is this lovely and totally original walnut desk dating from the 1930s. Compact in size this little desk is perfect if the space available is limited and of con...

A fabulous burr walnut 1930s Art Deco 9 drawer desk. Veneered in the most beautiful burr walnut to the drawer fronts with very pale contrasting straight ...

For your consideration is this exceptional Art Deco English walnut desk of good proportions and dating to the 1930's. A high level of craftsmanship and materials used is evident thro...

For your consideration is this impressive and totally original Walnut desk dating from the 1930's raised on round shouldered legs. Originating from France, it offers not only functi...

Fabulous mid-century modern walnut “Mainline” desk by Hooker Furniture in the United States, circa 1960s. This desk has been built from the highest quality walnut wood. It has a desi...

Art Deco desk, made of maple veneered wood with inlays, keyholes and ivory strips. By NORDISKA KOMPANIET S:A (1920-1970). Signed by NORDISKA KOMPANIET S,A., BS AIRES, Florida 101. A...

This Boiceau desk bears his stamp, and was entirely veneered in amboyna, an exotic burlwood named for Ambon, the Indonesian island where it was harvested. The naturally squiggling patterning of the veneer provides an overall surface decoration. The top alone has no fewer than 60 small book-matched squares of it – ten across and six deep – creating a kaleidoscopic effect in subtle monochrome. Applied decoration is minimal. It consists of two inlaid pairs of griffins in boxwood and purplewood facing off across braziers on both the front and the back of the desk, and blind-tooled Greek keys trimming white-leather-topped shelves that slide out to either side. These decorations introduce no color, and, in lying flush with the surface, leave the sleek form undisturbed. Boiceau even eliminated drawer pulls, necessitating a lock and key for each drawer. Born in Lausanne in 1881, Boiceau descended from French Huguenots who had settled in Switzerland. Prominent as bankers, lawyers, businessmen, and diplomats, the Boiceaus were a cosmopolitan family. Ernest studied painting in Munich, and then painting and architecture in Paris at the École des Beaux-Arts. In 1900 he embarked on a ten-year European sojourn, painting landscapes and portraits along the way. In 1910 he resettled in Paris, became interested in textiles, and established an embroidery workshop that catered to the stage and haute couture. Among his clients were the Folies Bergères, the Comédie-Française, and the Paris Opéra, and the fashion houses of Worth and Molyneux. He also made embroidered table linens, wall hangings, and upholstery fabrics. In a 1913, at an embroidery exhibition in Paris at the Musée Galliera, he presented a boudoir in collaboration with curtains, upholstery fabrics, and a tapestry, embroidered in modern abstract designs. In 1925 he launched a couture line, and branched out to design finely crafted objects and furniture made in rare woods, like ebony and Tasmanian oak...