Andrew Szoeke Desks

French Desk style: Art Deco Year: 1930 Material: wood It is an elegant and sophisticated dream desk. The quality of the furniture and the exotic wood used make it unique. It is an i...

French desk style: Art Deco Year 1920 Material: Wood and chrome It is an elegant and sophisticated dream desk. The quality of the furniture and the exotic wood used make it unique. ...

Elegant art deco style desk or bureau plat Such a classic high deco 1920s look with curves and elegant shape Very clean and minimal design great for modern interiors Some of our item...

Desk Year 1930 French Wood is Zebrano Finish: polyurethanic lacquer It is an elegant and sophisticated dream desk. It has a large work surface. The quality of the furniture and the e...

An Art Deco small desk. Amboyna with inlaid details, red bakelite and brass pulls. Desk features four drawers a storage cabinet and an additional storage area underneath a lift u...

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...

Desk Year 1930 French Wood Finish: polyurethanic lacquer. It is an elegant and sophisticated dream desk. It has a large work surface. The quality of the furniture and the exotic woo...

René Prou, Art Deco desk in lacquered wood, circa 1940-1950 patina to review.

This masterpiece of cabinetmaking and wood inlay, by America's greatest artist working in this manner during the Art Deco era, is a two-level liquor cabinet that is enriched with ron...

Art Deco Desk Year 1920 French Finish: polyurethanic lacquer It is an elegant and sophisticated dream desk. It has a large work surface. The quality of the furniture make it unique. ...

Desk Style Art Deco in wood and polyurethanic lacquer, French 1930 Desk 1930s Country: France Materials: wood Finish: polyurethanic lacquer It is an elegant and sophisticated desk...

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...