Frank Brangwyn. A rare desk originally designed for the 1931 Pollard exhibition

Collinson and Lock. Attributed to E W Godwin. An exceptional quality walnut writing table with five upper drawers each with swan neck handles standing on eight finely turned legs, ea...

A fine and rare walnut desk in the Anglo-Japanese style designed by Thomas Jeckyll and made by Charles Hindley and Sons. “Thomas Jeckyll designed some of the earliest surviving furniture inspired in decoration if not in form- by interest in Japan” (Cooper p. 138). As can be seen on the desk, the style and design details such as the ‘Key’ design, the Japanese style lacquered door panels, the cross hatching and circle design on the brass door brackets, all combine to create a unique example of Jeckyll’s Anglo-Japanese work. The ‘Key’ design on the desk appears on many of Jeckyll’s designs including the cast iron grates and fenders made by Barnard, Bishop and Barnards and on furniture designed for ‘Alecco’ Ionides for his home at no1 Holland Park, London in circa 1875. The ‘Peacock’ dining...

Waring and Gillows attributed. An Arts and Crafts bow fronted kneehole twin pedestal desk with chequered inlay with quality hand hammered brass handles, turned legs on original castors.

George Walton. A rare Arts and Crafts walnut desk almost identical to the desk Walton designed in 1898 for Sidney Leetham for the morning room in Elm Bank, a major interior commission in York, England. This desk is a complex hybrid design. The overhanging top with central arched cupboard...

“President” Oak Desk on drawer pedestals and brass plinth, copper handles with original British green leather top, details abound in this piece such as the guest facing end with its ...

Small Art Deco cubist and double sided desk, solid oak and oak plywood, French polish. Three drawers and a shelve under the top, nickel plated steel tube and handles. In the style of...

This oak Art Deco desk, designed by French designer Charles Dudouyt, embodies the elegance of the 1940s Art Deco movement. Crafted from solid oak, it features a solid construction an...

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...