Veneer Cabinets

The Relevo bar cabinet is a must-have for any living room. With a modern design and incomparable quality, it will not go unnoticed in your room. The slatted structure detail and the ...

Playing vinyls have never looked so stylish. Fierce, sensual and sumptuous, the Pelios DJ Console has a versatility that is not available in many luxurious ...

BODEGA CABINET Bodega Collection refers to cellar art or better known as chiaroscuro, a technique of extreme contrast of light and shadow used by Caravaggio. Cabinet designed by Jo...

Space tv stand is a high quality product by Mambo Unlimited Ideas, crafted in natural oak and natural walnut plywood veneer. It features four drawers and two ...

Striking mahogany commode from the Empire period in Germany, circa 1815-1820. The straight, timeless shape combined with unique mirror matched mahogany veneer makes this early 19th c...

Probably the tallest cabinet on the market. A breathtaking neoclassical palisander cabinet from the 19th century. Presumably of French origin. Solid rosewood and veneered on oak. ...

Armour, 21st century modern unique polished aluminum 2-doors cabinet When we design and create our pieces, we always imagine their soul. In ARMOUR cabinet we sense the spirit of an immortal samurai. The doors remind us of an ancient armor...

An exceptional custom two part mahogany breakfront server cabinet or bookcase by Joseph Gerte of Boston, MA, its upper case featuring a cres...

BODEGA CABINET Bodega Collection refers to cellar art or better known as chiaroscuro, a technique of extreme contrast of light and shadow used by Caravaggio. Cabinet designed by Jo...

Beautiful, rare, neoclassical biedermeier Corner Cabinet or Corner Cupboard in cherry veneer from South Germany around 1820. Cherry veneer on softwood, french polished. Circle with ...

The top of this American Empire console cabinet has a dark green marble(later). The marble can be moved aside to reveal a hidden compartment behind the ...

A very good quality Louis XVI style bombe fronted, marble topped cabinet on stand, having wonderful gilded ormolu scrolling foliate and monopodia mounts, the door opening to reveal s...

A very good quality pair of 19th century French ormolu and porcelain mounted pier cabinets, each with cross-banded decoration, monopodia supports, the Sevres style porcelain plaques ...

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...

Particularly graceful, decorative and at the same time practical showcase cabinet. Crafted from manufactured wood, this piece features tapered metal legs for a touch of Mid-Century Modern appeal and a set of tempered glass doors. Adjustable shelve offers plenty of space to stage decorative accents, bar essentials...

Biedermeier Vitrine, Austria, 1820. The elegant Biedermeier glass cabinet is glassed to all sides. It is embellished with elm veneer. Four he...

Beautiful small early Biedermeier one-door half cabinet with one drawer and one door. In very good hand polished restored condition.

Informed by the refined craftsmanship of mid-century Italian design, the Serge Cabinet features sculptural two-legged brackets, with a gently tapered silhouette and articulated edge....

"The value of a work lies in its expression" is the philosophy the Italian architect Carlo Scarpa, influenced by the materials, landscape, and history of the Venetian culture, clearly states. His architecture is deeply sensitive to the changes of time, from seasons to history, rooted in a sensuous material imagination. Scarpa is an undisputed name of the world’s modern architecture, which Malabar paid tribute to by designing the Venezia Modern Cabinet. Inspired by the beauty of the picturesque alleyways and romantic canals, this piece shares the mysterious map of Venice...

Inspired by MAD Architects’ key design philosophy - "urban understanding". Inspired by Absolute Towers in Ontario, Canada designed by this office Malaba...

A fine quality late 19th century French Louis XV style break fronted side cabinet. Having its original Brèche Violette marble top, glazed doors on either side, opening to reveal shel...

A fine George III period rosewood veneered concave door cabinet, boxwood and ebony strung & satinwood banded throughout, having galleried upper section with doors enclosing drawers &...

GUGA is a bar cabinet that completes the environment of a dining room, made of lacquered wood with doors and drawers lined in fabric, which give further elegance to the furniture.‎ W...

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...

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

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...

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). The Vernis Martin Panels 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...

Gorgeous 19th century antique Austrian tall hand carved corner cabinet. The cabinet was part of the original equipment of Fészek Artists’ Club established in 1901 in Budapest. The c...

Midcentury sideboard-cabinet, catalogue No. U-450, designed by Jiri Jiroutek. It´s made of beechwood, veneer, plywood and laminate. In excellent condition, fully refurbished. Dark st...

The Rosette Drinks cabinet belongs to the Rosette collection designed by Egg Designs and manufactured in South Africa. This high end, contemporary and bespoke cocktail cabinet is co...

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...

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

Louis XV French style reproduction bombe curio cabinet vitrine with bronze ormolu. Item features figural bronze ormolu, upholstered interior, bombe form, f...

In the Officina storage furnishings, the Mimetica finish - with its particular graphic texture that resembles marble - is reinterpreted by bold chromatic contrasts. The camouflage ef...

A beautiful "Somno" side table made of high quality Cuban mahogany with a grey marble top. This French Empire piece dates from the early 19th century, circa 1805. Meaning sleep in ...

English rosewood William IV breakfront console cabinet, the marble is white with streaks of gray. There are three front doors of carved floral arabe...

Solid wood, mahogany veneer. Fine chiselled bronze applications, gilded. In the center, above a large polished mirror. Below, two door glass-enclosed cupboard, which is richly decora...

Beautiful Biedermeier bedside table or side cabinet in walnut veneer from Germany. The top is finished with nutwood edge and maple strips. T...

Perfectly restored 19th century nut wood cabinet/ vertiko from the so called "Historism" period in Austria, circa 1890. Featuring a fine hand-polished shellac finish, beautiful set nut wood veneer and delightfully mirror matched burr walnut inlays in the two doors, this half cabinet is a one of a kind piece thanks to its outstanding lines and additional solid nut wood carvings. Due a special designed front, the doors can be wide opened and offer much space - divided into four compartments. At the top of this elegant cabinet you have an additional drawer with lovely brass fittings. An exquisite case piece that can be multiple used, for example as a stylish mini bar or an elegant dish cabinet...

Outstanding Biedermeier cabinet/ bookcase from the renowed Biedermeier era in Austria around 1830. Veneered in beautiful burr walnut and fine nut wood this slender antique cabinet ...

A fine quality pair of late 19th century amboyna 'Sevres' style porcelain mounted plaques, each having wonderful gilded ormolu swag decoration to the doors, column supports to the si...

A very rare and elegant Biedermeier cabinet of architectural form. Very simple in design with a fantastic and warm burr-ash veneer, accentuated with ebonized thread inlay, discs and ...

Fantastic 19th century Nutwood bookcase or cupboard with inlay works from the famous Baroque Revival period circa 1890 in Austria. The large elaborately handcrafted cabinet impresses...

Classic Biedermeier fall top desk, South German, 1820, walnut veneer on the outside and mahogany veneer on the inside. It has a beautiful veneer grain. T...

Remarkable, rare Austrian Biedermeier ashwood cabinet, elaborately handcrafted in the period around 1840. The solid spruce body shows an amazing looking very thick veneered ashwood s...

Rare neoclassical Biedermeier / Empire / Restauration demilune half cabinet from France, circa 1810. Solid cherrywood, partly ebonized. 4 brass leaf ornaments. 4 square tapered co...

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 ...

A petite Dutch walnut cabinet from the 19th century, with single drawer over door and bronze mounts. Created in the Netherlands during the 19th century, t...

Vintage Maitland-Smith chest. This wonderful small chest features an all-over chunky geometric horn veneer, two-drawer fronts that are clad in brass along its edges and brass handle ...

Midcentury sideboard-cabinet, catalogue No. U-450, designed by Jiri Jiroutek. It´s made of beechwood, veneer, plywood and laminate. In excellent condition, fully refurbished. Dark st...

18th century, Italian Louis XV wood center table This elegant and refined center cabinet was made in Turin around the mid-18th century. Characteristic of the high Piedmontese cabinet making, for this piece of furniture, a veneer was chosen with the particular wood, applied on the piece of furniture with a sophisticated game of mirrors and patterns of the wood grain. The furniture has a shaped and wavy top, and the wooden essence creates a chromatic game called "a occhio di pernice" (partridge eye). On the front it consists of two drawers and a compartment protected by two doors. The opening system of the doors is sliding, very rare and difficult to achieve. The mouthpieces of the locks are in chiseled bronze and gold, as well as the tips of the four legs that are arched and graceful, typical of the Baroque. This cabinet is perfect for any room and can also be exposed in the center of a room thanks to its finish on all four sides. It is also suitable alongside modern and antique furniture.

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...

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...

Early 18th century burl walnut veneered bureau cabinet. The upper section with swan neck top over double doors, the lower section with a sloping-f...

Late 18th century walnut veneer wall vitrine display case, Copenhagen, Denmark The display case has with two small drawers with original brass hardware.   

Windellade cabinet, Zurich region 1770-1780 walnut veneer. In very good condition. The cabinet will be shipped from Europe. Shipping costs to Bosto...

Superb burl veneered, parcel silver gilt and ebonized accented television cabinet with sliding hidden doors (when opened) and swivel television plat...

Scroll down and click "view all from Seller" to see more than 400 other unique products. (1.8) Low board in solid wood and veneered block board, with structure and plinth in total b...