Mahogany Furniture

Curvy and eye-catching Danish lounge chair from the 1930s. Set on carved and curved mahogany legs typical of the Art Deco period and with a low scalloped backrest giving it a very co...

Classic, rare and very elegant Danish 1930s bench or settee in the style of Kaare Klint and Frits Henningsen. The settee is unmarked as was most often the...

Set of four superb quality antique English hand-carved solid mahogany "Signed" Chippendale style side chairs with superbly pierced and hand-carved back splat; gadroon carved front seat rail; terminating in a handsome cabriole leg with acanthus leaf carved knee and ending in a ball and claw foot. Perfect for around a games table or breakfast table. Maker's label (on interior of chair rail): Thomas...

This simple and elegant king-size headboard designed by John Kapel for Glenn of California, circa 1960. A striking headboard with bookmatched African mahogany veneer. Professionall...

Curvy and eye-catching Danish club chair from the 1930s or 1940s. Set on mahogany bun feet typical of the Art Deco period and with a low backrest with small wings giving it a very co...

Stunning pair of mid-century leather wingback chairs or wing chairs featuring a dramatic ruby red leather upholstery. Made in the grand English Georgian taste with a mahogany hardwoo...

Red Chinoiserie painted fireplace. The frieze and jambs adorned with painted oriental scenes, including buildings, figures and boats. Date stamp on the back – 1947. Additional dim...

Modernist mahogany King size headboard from the Viscount collection made by Gibbard Furniture Company of Canada in March 1956. Only 50 hea...

This small but perfectly formed storage piece is made out of wood and can be combined with soft leather on the panels. It is elegant and stylish all the way around and from all angles. Poul Henningsen designed this in 1920. The PH small drawer chest...

Pair of English Regency style (19th cent) mahogany and gilt lion Armchairs with square back and red upholstery.        

Armchair upholstered with red velvet and mahogany designed by Frits Henningsen. The chair is great vintage condition.

Elegant mahogany and brass nine drawer long dresser (with mirror) from the Viscount collection made by Gibbard Furniture Company of Canada in March 1956. Only 60 were made. The V...

This magnificent French late 18th - early 19th Century (1796 - 1825) sofa hand carved in the manner of Jacob-Desmalter - an influential chairmaker and cabinetmaker who worked for King Louis XVI of...

The PH stool is perfectly proportioned to match the PH dressing table or stand-alone as a functional sculpture. The PH stool is available in maho...

The PH Stool is perfectly proportioned to match the PH Dressing Table or stand-alone as a functional sculpture. The PH Stool is available in mahogany, bla...

Sofa butterfly large made with solid mahogany wood structure. Upholstered with high quality red velvet fabric or customer fabric on request. Also available with different structure...

Red briar and mahogany multigame, polished finish, leather handles. Contents: 36 cms mahogany roulette, rake, 365 poker chips, bosso chessmen, backgammon, poker dice...

Pair of 19th century English Regency style mahogany and gilt lion armchairs with square back and red upholstery.

A Regency mahogany breakfast-table with rounded rectangular crossbanded tilt-top above a ring turned spreading column and a quadripartite base, brass caps. Measures: cm.180 x 125 x...

A Victorian red leather armchair of a good large size with well-carved mahogany arms and legs.

We designed this breakfront to look the part of an 18th century piece, but offer 21st century functionality. From the glass shelves that allow for the option of interior lighting to ...

Constructed in mahogany, rising from caster shod scrolled toe cabriole legs to the front and rear, the knees carved with addorsed 'C' scrolls, dressed with pendant foliates, the seat...

A fine French 19th-20th century kingwood and tulipwood marquetry and gilt-bronze mounted vitrine, in the manner of François Linke (1855-1946). The slender single door display cabinet with a red-velvet backing and bowed glass panels surmounted with acanthus and floral gilt-bronze mounts in the style of Léon Messagé (French, 1842-1901), the serpentine shaped front door with an ornate marquetry and ink colored panel depicting wreaths, ribbons and tied acantus leaves, all raised on four cabriolet legs ending with gilt-bronze paw-feet, Paris, circa 1900. Linke was born on 17 June 1855 in the small village of Pankraz, in what is now the Czech Republic. Records show that Linke served an apprenticeship with the master cabinet maker, Neumann, which he completed in 1877. Linke’s work book or Arbeits-Buch records that he was in Vienna from July 1872 to October 1873 at the time of the International Exhibition held there in 1873. He subsequently travelled to Prague, Budapest & Weimar before finally arriving in Paris in 1875. It is documented that he obtained employment with an unknown German cabinetmaker in Paris, and stylistic similarities, photographs and geographical proximity have led some to suggest that Emmanuel Zwiener was the most likely candidate. After a period back in his home town of Pankratz, he returned once and for all to Paris in 1877. In 1878 Paris hosted the third great International Exhibition, a remarkable success for a country ravaged by war only seven years earlier. It is known that the fledgling Linke workshops were active in the Faubourg St. Antoine as early as 1881, during this time he supplied furniture for other more established makers such as Jansen and Krieger. By 1889 another World’s Fair, as they were often referred to in America, took place in Paris. Monsieur Eiffel erected what has become the most iconic building in Paris for the exhibition and the atmosphere of wealth and confidence may well have encouraged Linke to think that he could contribute an important part to the next great exhibition. As early as 1892 this was decreed to take place at the end of the century, in an attempt to pre-empt Berlin from staging the last great show of the century. In 1892, Victor Champier (fr) one of the commissioners for the 1900 Paris Fair had appealed, “Create in the manner of the masters, do not copy what they have made”. It was an appeal against mere reproduction and Linke rose to this challenge in an unparalleled way with his unique display that was to include the Grand Bureau. Determined to outshine the competition at the Exhibition, Linke had set about creating the most ambitious pieces he could envisage, and more extravagant than had ever been displayed before. The items he exhibited marked a transition from the historicist interpretation of Louis XV and Louis XVI styles, an interpretation that was the mainstay of his nearest rivals, to something startlingly new and vital in its immediacy. [6] Together with Léon Messagé he developed a new style for the 1900 Exhibition that paid homage to the Louis XV rococo in the fluidity of its approach, but an approach fused with the lively flowing lines of the contemporary and progressive 'art nouveau'. The Art Journal reported in 1900 on Linke's stand: "The work of M. Linke ... was an example of what can be done by seeking inspiration amongst the classic examples of Louis XV and XVI without in any great sense copying these great works. M. Linke's work was original in the true sense of the word, and as such commended itself to the intelligent seeker after the really artistic things of the Exhibition. Wonderful talent was employed in producing the magnificent pieces of furniture displayed". Linke's stand would have appeared refreshingly new to contemporary onlookers, the traditional designs of the eighteenth century melting seamlessly into an exuberant naturalism. The 'Revue' described Linke's style as 'entièrement nouveaux' and noted "This opinion is universally accepted. Linke's stand is the biggest show in the history of art furniture in the year 1900". It is perhaps the most extraordinary and remarkable aspect of Linke’s personal history that he produced such expensive and luxurious furniture of exquisite quality for the 1900 exhibition without any commission or any potential buyer in mind. [9] At a time when other more established furniture businesses such as those of Beurdeley and Dasson were closing down, he made a huge investment in his stand and the furniture he supplied for it. Linke recognised that to move his business forward he needed to appeal to a more International clientele and the new emerging rich who were at this time amassing fortunes on an unprecedented scale. For this reason he gambled everything he had on his display for the 1900 exhibition. Had this not succeeded he would almost certainly have succumbed to bankruptcy. Linke’s notebook records visitors to his stand from England, Europe, the Americas, Egypt and Japan and including; the King of Sweden, three visits from the King of Belgium, Prince Radziwill, the Prince d’Arenberg, the Comte Alberic du Chastel, Miss Anna May Gould, the American heiress, distinguished furniture makers and the President of France Emile Loubet. This risky endeavour was a resounding success, and with his reputation established, La Maison Linke became the pre-eminent furniture house until outset of the Second World War. The technical brilliance of his work and the artistic change that it represented was never to be repeated. His showrooms expanded into prestigious premises in Paris, in the Place Vendôme as well as the Faubourg St. Antoine where his workshop had been established. He embarked on many important commissions in the years up to the outbreak of the First World War, making and designing furniture for leading international industrialists and bankers. After the 1914-1918 World War, Linke undertook the extraordinary commission to furnish the Ras al-Tin Palace in Alexandria for King Fuad of Egypt, possibly the largest single furniture commission ever conceived, eclipsing even Versailles. Linke flourished and remained active until the middle years of the 1930s and died in 1946 Léon Messagé (1842-1901) was a French sculptor, best known for his sculptural collaboration with François Linke for the 1900 Paris Exposition Universelle. Messagé was also responsible for much of the design and creative work for Roux et Brunet...

Sofa Carla extra large with structure in solid varnished mahogany wood. Upholstered with high quality red velvet fabric or customer fabric on request. Also available with different...

19th century English mahogany card table having two back legs which swing out to support the folding cut corner top. One drawer ...

2 door Art Deco solid mahogany and burl armoire w/3 drawers inside by Louis Sue (1875-1968) & Andre Mare (1885-1932)

1950s Italian console table or hunt board, in the manner of Paolo Buffa, rests on 4 fluted tapering column legs with brass sabots. Four dr...

A pair of mahogany obelisks on platforms. One side opens to reveal graduated shelves.

This is an antique Victorian mahogany serving table or buffet, circa 1850 in date. It is made from mahogany, has a moulded top with twin frieze drawers over two tiered shelves and i...

Pair of Ed Wormley chairs.

Lounge design chair Carla in red velvet and brown lacquered solid mahogany wood.

located in NY

Period Karl Johan (Biedermeier) mirror of gorgeous crotch mahogany. Silvered mirror is old and shows some age, but may not be original. Mahogany is showing lighter in ...

Kaare Klint three-seat sofa in original leather on a Cuban mahogany frame and produced by cabinetmaker Rud Rasmussen.

A matched pair of American commodes with very interesting bookmatched mahogany drawer fronts and tops. Dimensions (Larger): 39" high x 41.5" wide x 19...

Cabinet Galuchat rouge set of two in solid mahogany and red genuine sharkskin, double handles nickel-plated copper, with interior shelves with central cushion in fabric and interior lights. Exceptional piece. Set of two cabinets...

Pair of Kaare Klint armchairs designed in 1927 and produced by Rud Rasmussen. Store formerly known as ARTFUL DODGER INC

English mahogany four drawer red leather top rent table with circular swivel top, diamond bone escutcheons, checkered inlays, and terminating on a tripod base with original brass cas...