Veneer Cabinets

A vintage Swedish Art Deco bureau, semainier chest made of hand crafted polished, partly veneered Birchwood, in good condition. The Scandinavian cupboard is composed with six drawers...

Art deco cabinet by Erik Chambert, Sweden 1920’s. Executed in veneer finish with spectacular lion sphinx front feet. The dresser has 3 doors where behind them you will find five pull...

French Elm & Marble Cabinet Louis XVI Style A striking cabinet featuring a variegated red, white and grey fixed marble top and increasingly rare elm veneered panels. The wood is ...

This is the 1920s Swedish Grace cabinet designed by Axel Einar Hjorth for AB Svenska Möbelfabrikerna in Bodafors, Sweden. It comes builded in two sections. Made of birch and veneered with dark brown stained birch. The inside and the shelves are veneered with natural birch. Behind the doors hides two removable shelves in each section. The front is richly ornamented and the two front legs resemble paws. In an age of 100 years it still has a beautiful strong, vibrant colors without any fading. Marked "AB Svenska Möbelfabrikerna Bodafors" with a metal plate inside the upper right door. The locks work and a key is included. ____________________ Axel Einar Hjorth worked in his younger years at Svenska Möbelfabrikerna in Bodafors, before he in 1927 got employed as chief designer at Nordiska Kompaniet. Thus, the cabinet was designed before 1927 and it’s fair to assume the cabinet was manufactured sometime in the 1920s. Axel Einar Hjorth is beside his design of these type of Swedish Grace furniture known for the design of Nordiska Kompaniets Sport Cabin...

An Elegant Matching Pair of Art Deco Burr Walnut Night Stands With Cabriole Legs & Figured Walnut Fronts Height to top of the lip 72....

Period Dutch Art Deco secretary in wonderful burl walnut veneer in symmetrical pattern. Cut-glass pane, drop front desk, ebony wood door handles. Comes with three beautiful original ...

Beautifully designed AND executed, Dutch Art Deco chest with stunning drawers and handles. Having been antique furniture sellers for the fir...

A handsome antique French Beaux Arts burl wood and exotic inlaid woods cabinet with a bowed, fixed marble top, a single bowed drawer and a single b...

Art Deco auxiliary or entrance unit with walnut and burr walnut veneers, consisting in a cabinet with two doors (one concealing a mini-bar), topped by an engraved bevelled mirror wit...

Top quality and great condition, patinated nutwood, coromandel & oak cabinets by one of Holland's finest. These beautifully designed and skillfully handcrafted nightstands...

A 1930s Majestics Walnut and walnut Burlwood Storage Cabinet, Armoire, cupboard, music cabinet with Satinwood Inlays in very good condition. Double do...

A very fine 19th century Louis XVI style gilt bronze and gilt metal mounted rosewood vitrine cabinet with malachite tops, by Pierre E. Guerin (1843-1911), in the manner of François Linke (1855-1946). The slender single-glazed front door tri-level vitrine 'Meuble d'Appui' cabinet fitted with three sectional malachite veneer tops (later) and glazed beveled-glass panels on the sides, surmounted with gilt-bronze and gilt-metal ornamental mounts with playful Putti amongst vines and leaves, ribbons, musical instruments, flowers, torches, masks, wreaths and acanthus, all raised on six fluted and tapered legs with gilt-bronze ring fittings and sabots. The apron mounts with a polychromed Verde-green background. The mounts marked 'P.E. Guerin 527 and other numerals. The interior with two glass shelves and a recent green velvet paneling. Circa: New York, 1890-1900. The marks on the bronze of this cabinet are from Pierre E. Guerin (1843-1911), who established his New York foundry in 1864 providing mounts for renowned cabinet makers such as Leon Marcotte and Pottier and Stymus...

A very fine French 19th century Louis XV style Ormolu Mounted Kingwood, Satinwood and Vernis Martin Decorated Single-Door Vitrine, probably by François Linke (1855-1946). The white m...

Unique museum quality, 4-piece Parisian Art Nouveau office furniture set. As far as we know, this is the most complete, Louis Majorelle office ...

A stylish Art Deco burr and figured walnut canted bedside cabinet on stepped plinth. Circa 1930. *Free delivery for all areas in mainland England & Wales only. Delivery to room of c...

This valuable Art Nouveau cabinet was fabricated by the famous Viennese furniture manufactury August Ungethüm Kunst-Möbel-Fabrik. The cabinet documents...

A detailed, vintage Art Deco French secretaire made of hand crafted polished, partly veneered Birchwood and Burlwood, in good condition. The medium sized cabinet...

A very fine French Belle Époque 19th century tulipwood and gilt bronze-mounted Vernis Martin decorated Vitrine by Louis Majorelle (French, 1859-1926). The single door case with a hand-painted board depicting a garden courting scene surmounted with ormolu wreaths and a banded frame. The top with a pierced gilt bronze gallery above an ormolu royal tassel trim flanked by a pair of female masks above crossed torches and flames, cross flutes, a tambourine, a pan flute, ribbons and a tassel. Raised of four cabriolet legs with corner ormolu wreaths and leaves ending with hooves, Paris, circa 1990. The back bears the original Majorelle label that reads: "Louis Majorelle, Fabrique a Nancy, 3 Rue Girardel. Depot. 56 Rue de Paradis, Paris." Louis-Jean-Sylvestre Majorelle, usually known simply as Louis Majorelle, (26 September 1859 – 15 January 1926) was a French decorator and furniture designer who manufactured his own designs, in the French tradition of the ébéniste. He was one of the outstanding designers of furniture in the Art Nouveau style, and after 1901 formally served as one of the vice-presidents of the École de Nancy. The Majorelle firm's factory was designed by famous École de Nancy architect Lucien Weissenburger (1860 – 1929) and located at 6, rue du Vieil-Aître in the western part of Nancy. In the 1880s Majorelle turned out pastiches of Louis XV furniture styles...

Appealing mahogany wall cabinet from the Art Nouveau period in Austria, circa 1910. Made with finest mahogany veneer, this small wall-mounted cabinet offers two doors with beautiful ...

Pair of English Regency Style rosewood side cabinets Pierced heart brass gallery over shelf, figural swan supports, figural winged angel ormolu decoration...

A superb quality French 19th-20th century Louis XV style ormolu-mounted kingwood, satinwood and satine single door figural vitrine by the renown Parisian master craftsman and cabinet...

Phenomenal Art Deco commode or buffet from the period around 1925 in France. Amazing bookmatched burr walnut on the front was set in a very impressive manner and gives this fantastic...

Magnificent Art Deco Designer Sideboard of best quality and workmanship from Paris around 1925. Very special big concave fluted and cambered convex doors, which can be folded out wi...

A Fine French 19th-20th century Louis XV style ormolu-mounted tulipwood vitrine with marble top, in the manner of François Linke (1855-1946). The slender single door cabinet fitted w...

Impressive Art Deco cabinet in the manner of Otto Prutscher of Wiener Werkstätte with 2 sidedoors and a central display case with a transparent glass door showing discreet pattern of...

Elegant straight-lined, Art Deco period Vitrine or Showcase with three sides glass from France about 1925. Rosewood / Palisander veneered on the in- and outside. Base in maple soli...

Mesmerizing Art Nouveau cabinet or buffet by August Ungethüm from Austria, circa 1900. Designed and produced by the famous art furniture factory of A. ...

A very fine French Louis XV style ormolu and jasperware-mounted mahogany single door vitrine, attributed to François Linke (1855-1946). The two upper front corners surmounted with or...

Pair of early 20th century Venetian Baroque nighstands in massive gilt hand-carved walnut, black laquered. Gilt bronze handle. Restored and polished to wax. Measure cm: H 64 x W 6...

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...

A fine French 19th-20th century Louis XV style Kingwood and ormolu-mounted single-door Vitrine, the demilune shaped cabinet with and arched bonnet, molded trim above a bombé glazed d...

Attractive Italian Rococo style walnut veneer secretary cabinet, early 20th century. The top part of the cabinet over slant-front desk with w...

A very fine French 19th century Louis XV style mahogany, kingwood and stainwood ormolu-mounted marquetry two-door Meuble D'Appui attributed to either Joseph-Emmanuel Zwiener or Zwien...

Early 20th century Venetian Serpentin buffet cabinet in walnut hand-carved, walnut veneer with light wood threaded inlays. Period Art Nouveau, 1910s. Measure in cm.: H 94 x W 87 x D...