Bernd Goeckler Antiques Case Pieces and Storage Cabinets

Art Deco credenza sideboard French manner of Sue et Mare dresser buffet, circa 1930 Stunning marquetry panels with carved walnut Floral motifs and mixed woods typical of Sue et Mare ...

Brutalist sideboard. Made with bleached oak and iron work Circa 1940, France. Very good vintage condition.

Spectacular large rounded Art Deco sideboard, oak structure with Macassar ebony and mottled maple veneer, French polish. Five drawers with solid Macassar ebony handles. Solid oak interiors and thick Portor marble on top in three pieces. Exceptional quality. Design: Jean Fauré...

Sideboard in mahogany ebonized profiles, with niche in mosaic mirror for sculpture, black crystal top, brass handles. Shelves are missing.

A large sideboard/credenza presumably by Charles Dudouyt. France, c1930s. Consists of four doors providing shelves storage compartments and two central drawers. Brass detailing ...

Beautiful 1920s sideboard by Pierre Lucas with an angled sycamore frame. Citron wood diamond parquetry decorates all four doors of this piece. Four ov...

For your consideration is this very stylish Art Deco sideboard. Dating to the 1930's and originating from France is this large high style Art Deco sideboard. Not only offering kerb a...

A sumptuous Art Déco sideboard, neoclassical, made in solid oak plated in Macassar ebony veneer on the outside, of Sycamore inside the doors, finished with elegant bronze elements, a...

Elegant, high-quality french Art Deco Sideboard, Buffet, or Cabinet from the 1930s. This stunning piece has been expertly restored to its former glory, showcasing its unique curved ...

French modernist sideboard by Roche Bobois circa 1950 Two sliding doors with shelves Three drawers and a bar Nice blackened wood details.

Fully restored original Art Deco Sideboard from France about 1930. Walnut veneer and solid wood, high-gloss lacquered and polished. Original bronze fittings, nickel-plated. Original ...

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...