Veneer Vitrines

Modernist display cabinet, chrome-plated tubular steel, lacquered and cherry veneered blockboard, customizable. Production time c. 10 weeks.

Mid-Century Modern Penedo Marble Display Cabinet, Hand-Crafted in Portugal - Europe by Greenapple The Penedo marble display cabinet captures the enduring beauty of nature’s landsca...

Bauhaus tubular steel low bookcase made Nickel plated tubular steel, veneered blockboard and sliding glass panels. Customizable, production time c. 8 weeks.

Modernist tubular steel low bookcase made of chrome-plated steel, lacquered blockboard and sliding glass panels, customizable. Production time: ca. 10 weeks

Art Deco Penedo Quartz Display Cabinet, Handmade in Portugal - Europe by Greenapple The Penedo quartz display cabinet captures the enduring beauty of nature’s landscapes, shaped and...

Modernist tubular steel low bookcase in chrome-plated metal, glossy lacquered wood, and sliding glass panels. Customizable, production time ca. 10 w...

Mid-Century Modern Penedo Quartz Display Cabinet, Handmade in Portugal - Europe by Greenapple The Penedo quartz display cabinet captures the enduring beauty of nature’s landscapes,...

Bespoke low bookcase with case in veneered blockboard and sliding glass panels and tubular steel base.

A superb quality palatial French Louis XVI style ormolu mounted, satinwood, kingwood parquetry and Vernis Martin style paneling three-door raised Vitrine Display Cabinet attributed to Paul Sormani (1817-1877). A Vernis Martin Panel signed "V. Gossen." The lower part of the cabinet with three frieze drawers supported by two square-sectioned on tapered legs, fronting an ormolu mounted parquetry back panel, on toupie feet. The ormolu stamped with the initials "P.S." on the reverse. Circa: Paris, 1870. Height: 101 inches (256.5 cm). Width: 56 inches (142.2 cm). Depth: 20 inches (50.8 cm). Sormani, Paul (1817-1877): Born in Venice, Paul Sormani set up in Paris in the middle of the 19th century. He specialized in creating furniture and works of art and was known for his high quality reproductions of Louis XV and XVI furniture...

1890s, display cabinet or vitrine, umbertino, neoclassic with drawer in solid walnut and veneer walnut. Restored and wax polished in good conditions. Excellent patina. With one shelf...

A very fine French 19th century Louis XV style Ormolu Mounted Kingwood, Satinwood and Vernis Martin Decorated Single-Door Vitrine, in the manner of François Linke (1855-1946). The wh...

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...

Absolute stunning, rare Art Deco palisander vitrine or corner display cabinet from the famous period in France around 1930. This dreamlike Art Deco vitrine cabinet impresses with its...

Mid-Century Modern Penedo Marble Display Cabinet, Hand-Crafted in Portugal - Europe by Greenapple The Penedo marble display cabinet captures the enduring beauty of nature’s landsca...

Remarkable, rare empire nutwood display cabinet/ vitrine from the mid 19th century in North Germany - the so-called "second empire" period. As part of the inventory of a stately mans...

This refined 19th-century French display table is a rare example of understated elegance and fine craftsmanship. Made of walnut with delicate inla...

A fine quality late 19th century French bombe shaped display cabinet in the Louis XVI style, having wonderful scrolling gilded ormolu mounts, original marble to the tops, serpentine ...

Designed by Leo Jiranek, a forefather of mid-century American Modern furniture, this vintage vitrine was created for his "Outlook" Collection made by Virginia's Bassett Furniture. Hi...

German modernism 'Dahlem' secretary showcase designed and manufactured by GMD Berlin. Wood lacquering in various colors and finish. Available on reque...

Dimensions: 200 × 19 × 26 cm (78.7" × 7.5" × 10.2") Width × Depth × Height Elegant and minimalistic wall-mounted shelf in veneered U-shaped construction, designed by Wilhelm Renz fo...

Elegant, narrow, 3-sided glazed Art Deco display cabinet in macassar from France, circa 1930. Macassar ebony veneer (frames) on softwood and mahogany solid wood (cornice and base). ...

The “Levitating” Cabinet is a dramatic, art-deco style vitrine that is made by hand in Bloomington, Indiana. Featuring a dramatic combination of the finest quilted maple and macassa...

A very fine French 19th century Louis XV style ormolu mounted plum pudding mahogany veneer, mahogany and Vernis Martin decorated vitrine à Deux Corps, attributed to François Linke (1855-1946). The lower structure fitted with finely chased gilt-bronze mounts with female masks, musical instruments, floral drapes, bows and acanthus, centered with a frieze drawer and a cupboard door with three painted panels. The centre front painted panel with a Romantic courting park setting scene amongst sheep and a sculpture fountain of Putti; the side panels both with parks scenes of a resting lion sculpture and fountain flanked by grassing sheep. The lower cabinet interior with three drawers, the upper vitrine case with two glass shelves, a bowed beveled front door and sides, crowned with a fine gilt-bronze wreath mount with ribbons, all raised on four cabriolet legs with cast lion paw mounts. Unsigned. Circa: Paris, 1890-1900. A truly fantastic quality piece! The style of this cabinet is closely related to those produced in the Paris furniture making trade in the Faubourg Saint-Antoine in the 1880s and as such, without a signature or identifying mark, is unattributable. However, there are similarities with the firm Raoux et Brunet, some of whose mounts were designed by Léon Messagé and later used by François Linke. Indeed many of the mounts on this cabinet, whilst not exclusive to him, are very similar to the work produced in his early years in Paris in the 1880s. At this time Linke was making furniture to order...

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

This Italian neoclassical style vitrine expresses elegance and refinement in every detail. Made in the mid-20th century in walnut veneer with elegant details in briar and maple. Its ...

Impressive pair of French 19th century Louis XV style gilt bronze-mounted Kingwood and mahogany marquetry Encoigneurs, corner cabinets or vitrines, attributed to Paul Sormani. The upper section with molded cornice and shell cresting and enclosed by a bowed glazed panel door, the lower section surmounted by a marble top of arc-en-arbalète outline above two frieze drawers and cupboards below enclosed by tambour shutters, raised on short cabriole legs ending in foliate sabots, lock plates engraved 'Sormani PARIS.' Circa: Paris, 1875. Height: 90 1/2 inches (230 cm). Width: 44 inches (112 cm). Depth: 29 inches (74 cm). Sormani, Paul (1817-1877): Born in Venice, Paul Sormani set up in Paris in the middle of the 19th century. He specialized in creating furniture and works of art and was known for his high quality reproductions of Louis XV and XVI furniture...

A very good quality late 19th century French gilded ormolu mounted, marble topped vitrine. Having wonderful quality cherub mounts to the corners, scrolling folaite decoration, reeded...

A wonderful and rare pair of late 19th century French Louis XVI style virtines, each with their original marble tops, beautiful scrolling gilded ormolu mounts, the serpentine fronted...

Fine English Display Cabinet in Burr Walnut and Figured Walnut From the 1930s Standing as a graceful marriage of form and function, this two-part display cabinet exudes timeless ele...

A fine French 19th century Louis XV Style gilt bronze-mounted and "Vernis Martin" style bombé tulipwood veneered vitrine cabinet with a Breche d' Alep marble top. The serpentine fron...

Art deco credenza with display cabinet in burl walnut , by Ditta Strada Abramo fu Paolo, Milano, Italy. Credenza with showcase in walnut with two bodies: sideboard with two doors ...

Awesome china or display cabinet in a Mid-Century Modern and/or Scandinavian Modern style with a creamy white painted case on a plinth base and teak and glass doors. This piece is in...

Introducing a truly exceptional cabinet with a hidden writing desk. This exquisite piece of furniture showcases a captivating combination of rosewo...

A very good quality late 19th century French break fronted marble topped Vitrine. Having wonderful classical gilded ormolu mounts and plaques with scrollingq C scrolls, foliage, Rams and putti blowing horns...

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...

Dimensions 100x19x26cm (LxDxH) Dimensions: approx. 39.4 x 7.5 x 10.2 in Very shapely, simple and elegant shelf made of a veneered U-shaped profile by Wilhelm Renz for German manuf...

A fine quality late 19th century marquetry inlaid bombe fronted French Louis XVI style Vitrine, having its original Breche Violette marble top, wonderful scrolling foliate chiselled ...

Mahogany on solid wood. High-aisle, one-door, curved and three-sided glazed body. On its curled feet, a draped frame. Three-sided glazed display case. Slightly protruding top plate ...

20th century magnificent French Louis XVI style display cabinet Bois-Satiné veneer, all-round surface-covering mirror veneer on wood. Upright rectangular and rounded, glazed on thre...

Mid-Century Modern Venise Showcase, Hand-Crafted in Portugal - Europe by Greenapple The Venise Showcase enhances any interior by taking exceptional craftsmanship to a new level. Th...

Vanity Veneered With Karelian Birch With Oval Mirror From the Early 20th Century Vanity with an oval, tilting mirror, veneered with Karelian birch, dating back to the early 20th cen...

A very fine 19th century Louis XVI style gilt bronze and gilt metal mounted rosewood vitrine display 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, 1900-1920. 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 fine quality American made George II style bookcase, breakfront, china cabinet in mahongay with inayed boxwood. This piece has a glass upper section with glass shelves and an arche...

This beautiful French Art Deco bar cabinet was made in mid-France in the early 20th century circa 1925. It features a strong geometric design that is typical for art deco furniture. ...

Minimal Danish design modular display shelving by Paul Cadovius Around 1960 Poul Cadovius made a huge impact on the shelving area of the Danish furniture industry – he designed a freestanding modular based shelving system in metal with endless combinations and able be assembled without using tools...

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...

The Mikado Collection is inspired by the game "Pick a Stick" we used to play in childhood. Tubes of thick stainless steel, which remind us of the Mikado sti...

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

- Carefully refurbished - Integrated light - Mahogany veneer - The hairpin iron legs were added afterwards.

French Vernis Martin style vitrine / display cabinet in walnut and sapele mahogany. A very pretty vitrine / display cabinet in the style of Vernis Martin, this piece is constructe...

Rare and important 19th century French kingwood and parquetry inlaid display or vitrine cabinet, signed by the renowned designer and cabinet maker François Linke. The shaped bonnet atop large glass double doors and inset parquetry panels trimmed in bronze. Finely appointed overall with remarkably detailed gilt bronze mounts depicting caryatid masques, maiden busts, shells, acanthus leaves, and fleur de lis. The entire on gilt bronze animal...

Pair of antique ormolu mounted vitrine cabinets by L'Escalier de Cristal French, Late 19th Century Height 178cm, width 105cm, depth 55cm Crafted in the late 19th century, this exqu...

A pair of very good quality pair of late 19th century French Louis XVI style bombe vitrines, each with scrolling foliate and rams head gilded ormolu mounts, wonderful marquetry + par...

A fine quality French kingwood, marble topped vitrine having shaped glass to the front and sides. Beautiful ormolu mounts and raised on cabriole legs. The the manner of 'Linke.'.

A Dutch Rococo period walnut vitrine cabinet from the late 18th century, with hand carved hunting trophy, glass doors and bombé chest. Born in the Netherlands in the later years of t...

Bird’s eye maple root veneer on solid pinewood, one-drawered curving border-case on plinth-feet. Architecturally bowed front flanked with full columns from solid Beech. Carved and ha...

A rare and important Art Deco period Century of Progress Display Cabinet designed by Wolfgang Hoffmann (Austrian, 1900-1969) for Romweber Company, Batesville, Indiana, United States of America. circa 1933-1936 Created for the 1933 Chicago World's Fair, one piece design, having a rectangular showcase top with glass panel sides and a pair of sliding glass doors, over solid wood chest fitted with four drawers affixed with horizontal pulls, flanked by cabinet doors, opening to shelved interior. Rosewood, mahogany, richly figured blonde - golden birch or primavera, and glass. Signed, original label to drawer interior, featuring 1933 World's Fair mark impressed. **Please note, at the time of writing this, a matching sideboard - buffet (shown in last photo) is currently available separately** Provenance / Acquisition: Property from the important and iconic collection of Mr. James I. Rafftesaeth Jr., Dallas, Texas Acquired from highly reputable auction house, Heritage Auctions, Dallas, Texas. 2022 Design Signature Auction catalog #8091 History: Wolfgang Hoffmann was born in Vienna, Austria in 1900. He is the son of famous architect, pedagogue and Wiener Werkstatte cofounder, Joseph Hoffmann (1870-1956). Early on, following his father’s s interests, he was trained in the decorative arts and design. Wolfgang Hoffmann once reminisced, “I spent eight years at the Realschule, then three years went to a special architectural school, where I perfected my technical knowledge of architecture and general construction. From this school, I was graduated to the Kunstgewerbeschule [Studying under Oskar Strnad and Josef Frank in Vienna]. After finishing this school, I had one and a half years of practical in a well known architect’s office. Thereafter I worked in my Father’s office for two years”. Hoffmann met his future wife, Polish immigrant Pola (1902-1984) when they were both studying at the Kunstgewerbeschule. Joseph Urban (1872-1933) was needing an assistant for his architectural business in New York and contacted his friend and colleague, Joseph Hoffmann in Vienna. Hoffmann recommended his son Wolfgang. Urban hired him and sent a first class passage ticket to Vienna for Wolfgang to travel to New York. Wolfgang married Pola and traded his ticket for two tickets to America in steerage, arriving in New York City in December of 1925. Leaving the Urban office after nine months, Wolfgang and Pola formed an independent design practice with offices on Madison Avenue in Manhattan with the purpose of creating contemporary interiors and industrial designs. Early work included theaters, stores, and apartments mostly in New York City. During the late 1920’s and early 1930’s the Hoffmanns designed custom furniture for private clients. Some of these examples were shown in the February 1929 issue of House and Garden. Curiously, the examples’ design was attributed to Urban and the production to Pola Hoffmann, Inc. Established in the fall of 1928, the American Designers’ Gallery was “devoted exclusively to showing objects and interiors for practical use… by fourteen American architects and designers”. Its members included the Hoffmans and Urban as well as ceramist Henry Varnum Poor (1888-1971), architect Raymond Hood (1881-1934), artist designer Winold Reiss (1886-1953), graphic designer Lucien Bernhard (1896-1981), decorator Donald Deskey (1894-1989), and architect Ely Jacques Kahn (1884-1972). The Hoffmanns’ work was included in the American Designers’ Gallery’s two showcase events, its 1928 and 1929 exhibitions. Their dining alcove at the 1929 event featured a bench with a dinette table and two chairs in American walnut designed by Wolfgang and a rug by Pola. Lucien Bernhard, fellow Austrian immigrant who settled in New York a year before the Hoffmanns, operated the gallery and decorating service Contempora with Munich resident Bruno Paul (1874-1968). The Hoffmanns, occasionally participating with Contempora, designed a number of outstanding interiors, including the constructivist living room of 1930 for Mrs. O.R. Sommerich at 40 East 66th street. In 1934, Donald Deskey commissioned Wolfgang to design birchwood furnishings for the eclectic apartment at 625 Park Avenue belonging to Helena Rubinstein. In 1931, Wolfgang exhibited his work at the Pennsylvania Art Museum and the Museum of Modern Art in New York City. The same year, with Kem Weber (1889-1963) he organized the second and final exhibition of AUDAC- “Modern Industrial and Decorative Arts”- at the Brooklyn Museum. At this event, the Hoffmanns showed the dining room previously included in the American Designer’s Gallery’s 1929 exhibition in the Chase Bank Building lobby at 145 West 57th Street in Manhattan. In 1932 Wolfgang was asked to assist Urban in developing the color scheme for the 1933-34 Chicago World’s Fair “A Century of Progress”. He was also commissioned to design the interior and furniture for the fair’s lumber industries house. There he executed its living and dining rooms furnished by Kroehler Manufacturing Company of Chicago; the boys’ room by Shower Brothers...

A fine quality pair of late 19th-century Satinwood pier cabinets, with ormolu mounts and intricate design. Each cabinet features inset hand-painted Sevres-style porcelain plaques, b...

French Louis XV decorative display case signed Paris around 1860 Solid oak wood with fine veneer (mirror veneer) Highly rectangular body made of solid oak and fine wood veneer. Sing...

High-rectangular body on pressed ball feet. Above open, flanked by three-quarter carved columns. Including two fully carved doors. The wardrobe was onc...