All Tables

A Fine Regency Penwork & painted Stand

A stand decorated with painted panels and pen work, the hinged top with a painted panel opening to a compartment, on a pinworm base with cabriole legs, on pad feet.

A Louis XVI Round Mahogany Extension Dining Table Attributed to Nicolas L. Mariette, Maitre in 1770

The central two board top with drop leaves, raised on spiral turned legs, ending in brass cup casters.
With 6 extra leaves, one finished and 5 unfinished.

A Fine Louis XVI Kingwood One drawer Table With Gilt Bronze Ormolu Mounts

With Satinwood and Olivewood Marquetry Inlaid with a single drawer with a fitted interior including a writing surface

A Spanish Baroque Walnut Table

The top extending over a carved three-drawer frieze with stylized vine motif, on turned columnar legs joined by a lower stretcher.

A Fine & Rare Horse Head Bronze Table w/Rosso Imperio Marble Top Gilbert Poillerat Designer, France

Circa 1935

There have been many important French designers associated with Art Deco and through the 1930's, '40's and beyond who worked in wrought iron. One usually thinks of Edgar Brandt, Raymond Subes, and Paul Kiss. For quite a while, when Art Deco was enjoying its first flush of recognition in the 1970's, Gilbert Poillerat remained relatively unknown. This would soon change as the natural progression of design exploration began to move into the 1930's and beyond, and Poillerat would emerge as one of the most original and important designers of his time.

Gilbert Poillerat was born in 1902 in a small town in France that, oddly, had three names - Mer, Loir et Cher. Like many other furniture designers, he attended the famed École Boulle, where he trained as a metal chiseler and engraver, graduating in 1921. Following his graduation, he worked with arguably the best and most influential wrought-iron master - Edgar Brandt. He worked for Brandt for over seven years in both design and production. There can be no doubt that this time was hugely important, not only in furthering his training and perfecting his technique, but also exposing him to the new ideas that had blossomed forth during the Art Deco movement, when wrought-iron escaped the constraints of tradition that had kept it static for so long.

A Fine Louis XVI Kingwood One drawer Table

With Satinwood and Olivewood Marquetry Inlaid

A Spanish Baroque Walnut Table

The rectangular top raised on shaped trestles joined by wrought-iron stretchers

A Fine French Louis XVI Side Table W/drawer

An Italian Baroque Walnut Center/Library Table

The rectangular top above three paneled drawers, raised on shaped baluster legs joined by stretchers.

A Fine English William IV Carved Birdseye Maple & Rosewood Center Table 

Fitted with a inlaid scagliola top.