Italian Art Deco Parchment Desk Attributed to Osvaldo Borsani, 1940s

This Art Deco sideboard was produced in Italy in the 1940s. The legs, the top and the profiles are black lacquered, while the doors are in parchment. The decorations are in sandblas...

This unique Art Deco sideboard was produced in Italy in the end of the 1940s by Vittorio Dassi. The laterals, the middle part and the legs are black lacquered, while the top and the...

This Art Deco table was produced in Italy in the 1940s and it is attributable to Vittorio Dassi. The top and the base are in parchment, while the two legs are in reeded black lacquer...

This elegant and huge Art Deco table was produced in Italy in the 1930s. It is completely covered in parchment, with maple and a darker exotic wood profiles on the edge of the top an...

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

An Italian Art Deco console table with two upper shelves in vellum supported by a rectangular base in palisander wood with square cut-outs. The central back column and angled base a...

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

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...