Important and Rare Art Deco Amsterdam School Desk by Paul Bromberg for Pander

Jean Pascaud (1903-1996) Jean PASCAUD Oak Student Desk, France 1930 Original oak student desk from the Cite Universitaire of Paris with two drawers. Measurements: H: 29″1/2 x W: 43″1...

Dornach school desk, birch, Germany, 1930s This elegant desk reflects the spiritual-functional design principles rooted in the Dornach School tradition of the 1930s. Softly rounded edges, subtly arched base elements, and fluid, continuous surfaces replace conventional straight lines and symmetry, radiating a warm and dreamy presence. The proportions and curves of this design create a sense of calm and intention, not just serving as furniture but a supportive element in ones environment and life, resonating with the anthroposophical way of living. True to anthroposophical design principles, this piece avoids straight lines altogether, embracing asymmetry and mirroring the organic rhythms of nature. While the exact maker remains unconfirmed, the work bears a strong stylistic affinity to the designs of Siegfried Pütz (1907–1979), Felix Kayser (1892–1980), or Fritz Schuy (1891–1952), all prominent figures associated with the Dornach School. Dornach school or Dornach design is a comprehensive exploration of anthroposophical furniture...

Art Deco Desk in Satin Birchwood Attributed to Heal’s, London. A fine Art Deco desk attributed to Heal’s of London, dating from the 1920/30's and crafted in beautifully figured sat...

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...

Charles Dudouyt (1885-1946) Art Deco Oak Desk signed

“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 ...

Art Deco desk from circa 1940, Poland. This piece of furniture is in very good condition, after professional renovation. Dimensions: height 80.5 cm / width 150 cm / depth 75 cm, ar...

Dudouyt double side desk, meant to float in a room. The door conceals a set of drawers and the carved edge detail to the left side is a handle to pul...

Frank Brangwyn. E Pollard and Co. A rare desk originally designed for the 1931 Pollard Exhibition where it can be seen in a room setting in the original photographs from 1931. See ...

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...