Tulipwood Vitrines

A very fine quality French Louis XVI style gilt bronze ormolu mounted matched kingwood display cabinet / vitrine by the luxurious Parisian furniture maker Maison Krieger (1826-1910) ...

A handsome French 19th century Louis XV st. Tulipwood, Kingwood, Ormolu and Brèche Violette marble cabinet/vitrine. The stunning three door cabinet is raised on a scalloped base with...

A stunning and high quality French 19th century Louis XVI st. Ormolu and Tulipwood cabinet/vitrine, signed Henry Dasson 1886. This beautiful tall rectangular three door vitrine is su...

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 striking and most elegantly pair of French 19th century Louis XVI st. Kingwood, Tulipwood and ormolu cabinet vitrines. Each two door vitrine is raised by fine block feet with delic...

A stunning and extremely high quality French 19th century Louis XV st. Kingwood, Tulipwood, and ormolu cabinet vitrine attributed to François Linke. The two door cabinet is raised by...

A superb quality English Victorian Sheraton Revival rosewood, parquetry inlaid and brass mounted bijouterie table dating to circa 1880. The circular hinged top with rosewood and sati...

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 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...

High-end bespoke bottle showcase, with a capability of more than 100 bottles. This tailor-made project by Modenese Luxury Interiors was precisely desig...

An elegant and high quality French early 19th century Louis XVI st. Kingwood, Tulipwood, Charmwood, ormolu and Sèvres porcelain cabinet vitrin...

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 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 exquisite and extremely high quality French 19th century Napoleon III period Kingwood, Tulipwood, and ormolu cabinet vitrine. The two door, one drawer vitrine is raised by elegant...

A lot more than just a normal furnishing accessory, this bottle rack by Modenese Luxury Interiors features one drawer and four shelves capable of holding at least 30 bottles. White w...

A lot more than just normal furniture, this bottle rack features one drawer and four shelves capable of holdingat least 30 bottles. Its ivory wood colour is given by a lacquered fini...

Modenese Luxury Interiors is proud to promote his production and design services by showing you this wondeful baroque vitrine for dining rooms. Its wide g...

A vitrine in the Louis XV French styling, with 2 glass doors and a marble top. The case is veneered in Walnut with tulip wood and rosewood and the ormolu mounts give it a formal char...

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...

20th century magnificent French Louis XVI style display cabinet Bois-Satiné veneer, all-round surface-covering mirror veneer on wood...

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 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 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 important and extremely rare Louis XV style gilt bronze mounted bombe vitrine, firmly attributed to Maison Krieger. The back of the mounts on the four cornice corners and the floral swags cast with the monogram LM possibly for Leon Message; an old, possibly original label on the back with ink inscription: '1181 (?), galbee vitrine, Lxv, bois Violette..101'. This exceptional vitrine has a spreading pediment centred by a finely cast gilt bronze stylized acanthus, ‘C’-scroll and foliate cresting, above a glazed bombé central door and concave sides. The silk lined interior is fitted with adjustable shelves and the angles headed by superb gilt bronze figural espagnolettes with uplifted heads, plumes and ruffs. The lower galbée shaped section of the vitrine is mounted with foliate garlands and raised on cabriole legs with acanthus clasps and feet. An almost identical vitrine of the same proportions, construction and design, stamped to the lockplate ‘Mon Krieger...

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 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...

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

A stunning and unusual French 19th century Louis XV Style gilt bronze-mounted and "Vernis Martin" style bombé tulipwood veneered vitrine cabinet. The serpentine front door vitrine wi...