Tulipwood Cabinets

A lovely and most elegant French 19th century Louis XV st. Kingwood, Tulipwood, ormolu, and Gris des Ardennes marble cabinet. The two door cabinet is raised by cabriole legs with bea...

A most elegant and very high quality French 19th century Transitional st. Belle Époque period Rosewood, Tulipwood, ormolu, and Vert Antique marble cabinet...

An exquisite French 19th century Transitional st. tulipwood, exotic wood, ebony, ormolu and Sarrancolin Opera marble cabinet. The h...

A spectacular and important French 19th century Louis XVI st. tulipwood, ormolu, Vert de Patricia marble and Japanese black lacquer cabinet...

French kingwood parquetry and ormolu-mounted vitrine. In the Louis XV-XVI Transitional style, of kingwood and tulipwood crossbanding and o...

A sensational French 19th century Louis XV style tulipwood, kingwood and ormolu cabinet, attributed to Zweiner. The cabinet is raised by handsome scrolled legs with with rich acanthu...

French pair of tulipwood bedside cabinets, having shaped gallery to the inlaid top above 3 flower inlaid drawers fitted with original brass handles and inlaid sides, all standing on cabriole legs with brass sabots. This pair of bedside cabinets...

French cabinet in a curved shape with a cupboard base and nine drawers. It is adorned with tulipwood and kingwood inlay veneers, and ormolu mounts. A pill-out slide is covered with t...

A fine quality late 19th century, Breccia marble topped side cabinet in the manner of Joseph Zweiner, having wonderful gilded ormolu monopodia mounts to either side, Tulipwood and Ki...

Antique Late 19th Century French Louis XV style gilt bronze mounted kingwood, tulipwood, walnut, birch marquetry & inlay two door cabinet surmounted by a variegated marble top, the ...

A very fine pair of 19th century French Louis XV mahogany and gilt bronze mounted cabinets by G. Durand. Stamped in the wood . Original Breche De Alep marble tops. The interior zebra...

An Exceptionally Rare Secrétaire à Abattant After the designs of Jean-Henri Riesener for Marie Antoinette By Paul Sormani of Paris Of upright rectangular form with canted corners a...

A French 19th Century Louis XVI st. Tulipwood, Kingwood and marble cabinet/vitrine. The vitrine is raised by topie shaped front legs and square tapered legs in the back, with all leg...

A handsome French 19th century Transitional st. Tulipwood and Ormolu cabinet vitrine.

A pair of Marquetry display cabinets in the transitional manner By Edmund Kahn of London & Paris Constructed from kingwood, with tulipwood, bois satiné and harewood inlays; f...

A Fine French 19th Century Louis XV Style Kingwood and Tulpwood Gilt-Bronze Mounted Vernis Martin Style Serpentine Meuble d'Appui (Side cabinet) with Marble Top. The triple-bombé single door body fitted with a Spanish Brocatelle marble top, the single front door centered with a painting depicting a park scene with a man seated across two ladies and a young man standing between them playing violin, the upper apron painting section depicting a lake scene with coastal trees, all surmounted with floral and acanthus ormolu mounts and raise on cabriolet legs with gilt-bronze sabots. Two interior wooden shelves. The lockplate stamped: "V.F. (Crossed keys...

An exceptional pair of rare 19th century richly patinated walnut and tulipwood pier cabinets or bookcases, finely hand carved, cross banded, ormolu mounted and marquetry inlaid throu...

A stunning and extremely high quality French 19th century Louis XVI st. Mahogany, Tulipwood and ormolu clock cabinet signed Mercier Frères. The four door one drawer cabinet is raised...

A pretty pair of 19th century Italian beside cabinets with excellent quality marble tops. Constructed in kingwood and tulipwood with a fabulous use of veneers. Each cabinet having tw...

A French Louis XVI Style Ormolu-mounted marquetry and parquetry commode, circa 1875. A very fine French 19th century finely chased ormolu-mounted kingwood, tulipwood, and satinwoo...

A Striking Pair of Napoleon III Meubles d'Appui The Marquetry attributed to Joseph Cremer Constructed from tulipwood with inlay of various specimen woo...

The Royal furniture-makers, Wright and Mansfield of London were the Cabinet Makers for this rare Adam Style Satinwood Ormolu Mounted Credenza or Side Cabinet. This Regal Satinwood Ca...

Norel Olson for Kopenhavn mid century bar desk cabinet The cabinet measures: 32 wide x 16 deep x 17 inches high All pieces of furniture can be had in...

A very fine French Louis XV style Belle Époque mahogany and tulipwood ormolu-mounted vitrine cabinet with a Brêche violette marble top, attributed to François Linke (1855-1946). The ...

A stunning and extremely high quality French 19th century Louis XVI st. Belle Époque period Kingwood, Tulipwood, ormolu and Brèche Polychrome de St. Bernard marble cabinet vitrine si...

A Rare Louis XV Ormolu-Mounted Tulipwood and Chinese Lacquer cabinet, c. 1750 (Regence Period) A truly magnificent, monumental, and one of a kind cabinet, painted throughout with gi...

A Very Fine French Napoleon III Figural Ormolu and Porcelain (Probably Sevres) Mounted Tulipwood Meuble A Hauteur D'Appui, by Mathieu Befort, dit Befort Jeune. The rectangular shaped...

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....

A stunning French 19th century Louis XVI st. Belle Époque Period demi lune chest Marqueté à la Reine, by P. Sormani. The chest is raised by elegant square tapered legs with fine ormo...

A Louis XVI style table Ambulante By Francois Linke The master ébéniste using kingwood and tulipwood to great effect, with foliate ormolu mounts, rising form hoof-foot and acanth...

A charming and most elegant French 19th century Transitional st. Tulipwood, Kingwood ormolu and Brèche d'Alep marble Bonheur du Jour cabinet. The Bonheur du Jour, which translates to...

A very attractive French 19th century Transitional st. tulipwood, kingwood and charmwood cabinet. The cabinet is raised on cabriole legs, decorated at the front with ormolu sabots an...

An unusual French 19th century Louis XV st. kingwood and tulipwood two part cabinet joined by a central shelf. The two cabinet ends with a door have an interior shelf. The outside is...

A sensational and extremely high quality French 19th century Louis XV st. tulipwood, mahogany, ormolu and Brocatelle d’Espagne marble cabinet. The cabinet is raised by elegant lightl...

An elegant French 19th century Louis XV st. Kingwood, Tulipwood, ormolu, and Rouge Griotte marble cabinet. The three door cabinet à hauteur d'appui is raised by tapered lightly curve...

An extremely high quality French mid-19th century ebony and tulipwood inlay corner cabinet signed Heubès The two part encoignure, in the manner of A. Wesweiler, topped by a curved de...

A striking and extremely elegant pair of French 19th century transitional style tulipwood and kingwood cabinets. Each cabinet is raised by Fine lightly curved legs with richly chased...

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...

An elegant and most decorative French 18th century Louis XV period Tulipwood and marble encoignure corner cabinet. The corner cabinet is raised by finely tapered feet with pierced or...

An impressive and high quality French 19th century Empire st. burl elm, ebony, tulipwood, and ormolu cabinet. The large scale three door cabinet is raised by a straight base with an ...

A rare late 18th century satinwood collector’s cabinet in the manner of Mayhew and Ince, tulipwood crossbanded throughout, the doors enclosing various small drawers inlaid with oval ...

'TreeHouse' drinks cabinet is a striking sculptural design piece, made entirely by hand. The drinks bar resembling a tree house sits amidst almost 1 metre tall hand carved tree trunk that rests on a large plinth...

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...

A Very Fine French 19th-20th Century Louis XVI Style Mahogany, Tulipwood and Ormolu-Mounted Parquetry Three-Door Vitrine Commode 'Meuble d'appui with a Brêche Violette Marble Top, at...

A very fine French Louis XV style Palissandre, Tulipwood, mahogany and Marquetry Meuble D' Appui with one door and veined black marble top, Stamped: M. Descotte & Fils, circa 1880-18...

A French 19th-20th century Louis XV style tulipwood parquetry and mahogany gilt-bronze mounted three-door Meuble d' Appui (Side cabinet) with marble top, Paris, circa 1900. Measur...

20th century Louis XIV style cabinet Cabinet in the style of Louis 14th. tulip wood on solid pinewood. The fittings are pronounced and of exceptionally ...

We are delighted to offer for sale this exceptionally rare Alfred Beurdeley (1847-1919) Paris fully stamped Tulip and Kingwood with bronze mounts jewelry casket on stand This is one of the finest jewelry caskets I have ever seen, the quality is second to none, if you search works by Berurdeley you will see multiple pieces in the hundreds of thousands of pounds, these are some of the best and most collectable original handmade master craftsman pieces ever conceived. A Japanese lacquered cabinet of similar form made by Beurdeley which was larger sold in Sothebys in June last year for 216,125 Euros including fees The cabinet is made with bookmatched Tulip and Kingwood with gilt bronze mounts all-over, the leather top is the original which is nicely aged, there is also a functioning key which is needed to access the drop front Condition wise this piece has been cleaned waxed and polished, I have left the overall finish original however it can be fully restored to include a strip back and French polish should the new owners wish, this restoration would be completed at the new owners expense. On inspection I can see two panels which have timber shrinkage splits, there are some patina marks to the top and general patina marks Dimensions: Height 100.5cm Width 41.5cm Depth 31cm Please note all measurements are taken at the widest point Alfred Beurdeley, 1847-1919 Nationality: French Date of Birth: 1847 Place of Birth: Paris Place of Death: Paris Identity: Emmanuel-Alfred Beurdeley was a collector who came from a family of cabinetmakers, antique dealers and collectors. He was the illegitimate son of Louis-Auguste-Alfred Beurdeley (1808–82). His grandfather, Jean Beurdeley (1772–1853), who served in Napoleon's army, opened a small antique shop in the Marais district of Paris. In 1830 he bought the Pavillon de Hanovre, 28 Boulevard des Italiens, which became the Beurdeley firm's principal gallery until 1894. L.-A.-A. Beurdeley dealt in antiques and works of art and was also a cabinetmaker specializing in reproductions of seventeenth and eighteenth Century Furniture. His clients included Napoleon III and the Empress Eugénie. Life: In 1875 E.-A. Beurdeley took over his family's gallery and workshops and until 1894 concentrated on continuing the line of luxury furniture sold by his father. He was one of the most important Parisian cabinetmakers, and won a Gold Medal at the Exposition Universelle in Paris in 1878. He was appointed Chevalier de la Légion d'honneur in 1893 following the Universal Exhibition in Amsterdam. In 1895 he closed the Pavillon de Hanovre and retired to his hôtel in the Rue de Clichy. The rest of his life was spent acquiring and selling enormous collections of furniture, Chinese porcelain, paintings and drawings, including an extraordinary group of eighteenth century French drawings by François Boucher, Jean-Honoré Fragonard, Nicolas Lancret and Antoine Watteau in 1905. He also owned JW's La Dormeuse...

Stunning 19th century French Empire, neoclassical/Rococo Revival style Marquetry vitrine or display cabinet, of large proportions!! A real statement piece! Made of a fabulous variety of veneers, including kingwood, satinwood, tulipwood, harewood and walnut with quality classical ormolu mounts. It has ebonized pillars in the Empire style, with walnut and exotic hardwood friezes in the Rococo style. Double glass doors to middle section and single glass doors on either side. The glass on the doors are framed in ormolu banding. Floral Marquetry panels on front and parquetry on the sides. The front central section is a pullout / pull-out drawers with gorgeous walnut frieze panel and original carved walnut knobs. Scrolling pelmet on the top in 3 sections banded in ormolu beading. Scrolling base with cabriolet feet and ormolu mounts on base. Various ormolu mounts, floral mounts, mounts of Baachus and mounts of neoclassical female figures. In 3 sections. with 2 side cabinets and large central section with 3 section pelmet, stunning piece!!! The quality ormolu mounts are marked with the letter “R” and what appears to be “FR 678”. We were originally of the belief that this piece might have been made at the very end of the 19th century, but having regard to the quality of workmanship throughout this piece we are of the opinion that it was most likely made in the third quarter of the 19th century, circa 1870 and by an obviously top quality Parisienne maker with a surname beginning with “R”. It is definitely in the style of David Roentgen who was known for his Rococo/neoclassical styles. David Roentgen, (born Aug. 11, 1743-died Feb. 12, 1807, Wiesbaden, Duchy of Nassau), cabinetmaker to Queen Marie-Antoinette of France; under his direction the family workshop at Neuwied (near Cologne), founded by his father, Abraham Roentgen, became perhaps the most-successful firm of furniture production in the 18th century. After succeeding his father as head of the Neuwied workshop in 1772, Roentgen strove to broaden their clientele, an ambition that brought him first to Hamburg and ultimately to Paris (1774), where in 1779 he was spectacularly successful in selling his finest furniture to King Louis XVI of France for £3,300 to £4,000, an unprecedented sum for the time. Appointed cabinetmaker to the queen, Roentgen was granted admission (1780) as maître-ébéniste (master cabinetmaker) to the trade corporation of Paris cabinetmakers, making it possible for him to keep in Paris a stock of the furniture manufactured at Neuwied. Thus he was able to compete with such great cabinetmakers as Jean-Henri Riesener and Adam Weisweiler, reputedly his former pupil at Neuwied. After his first visit to St. Petersburg, Empress Catherine II the Great bought huge quantities of his furniture; King Frederick William II of Prussia was also his client. When in 1795 the French Revolutionary armies threatened to cross the Rhine, Roentgen evacuated his establishment and moved his stock farther inland. Unfortunately, he lost everything in his Parisian salon and in his Neuwied workshop, both of which were sacked by Republican troops. He was crushed, despite his appointment as court furnisher to the king of Prussia. Although he never succeeded in starting production again, former apprentices of his whom he helped to establish in the German cities of Berlin (David Hacker...

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...

A Truly Magnificent 19th century Secre´taire a` Abattant by Maison Rogie´ of Paris After the original in the Wallace Collection, London, made in 1777 by Pierre-Antoine Foullet Con...

A very fine French 19th/20th century Louis XVI style mahogany, kingwood and tulipwood parquetry three-door vitrine with ormolu-mounted floral wreaths, ribbons, female masks and centr...

An unusual and rare early 19th century bow ended freestanding French marquetry marble top cabinet / stand made from tulip wood and inlaid with exotic woods, having the original white...

A fine late 19th century Napoleon III glazed cabinet on chest, the shaped grey marble top above a curved frieze and mounted with fine gilt bronze mounts. The vitrine with a full widt...

A good quality late 19th century side cabinet, having a white marble top, gilded ormolu scrolling mounts to the frieze, various exotic woods to the parquetry and marquetry inlay, a S...

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...

18th Century French Small Louis XV Marquetry Side Table or Table Chiffonnière A small Louis XV transition period side table or commode, a so-called "table chiffonière" with a recta...

Gervais Durand was an exceptional furniture maker of the later 19th century, known especially for his reproductions of 18th Century works, but also responsible for some strikingly or...