Laurameroni Cabinets

Mid-Century Modern Penedo Quartz Display Cabinet, Handmade in Portugal - Europe by Greenapple The Penedo quartz display cabinet captures the enduring beauty of nature’s landscapes,...

Precious cabinet secretaire produced in Italy in the 1950s, The whole cabinet is veneered in mahogany with a fine solid wood carving in the center of the two doors representing two b...

Fabulous brass and glass tall showcase with 4 thick glass shelves etched for showing plates. Shelves are adjustable. Two glass doors each hung on 4 hinge...

Dutch writing cabinet hand built by a master craftsman, circa 1960s featuring ornate inlay work and numerous drawers and compartments. Very impressive piece and great quality.

Pair of cabinets / vitrines made of black painted wood on the outside and natural color wood on the inside. Door and sides made of glass, wooden shelves. The cabinets are new, unused...

This highly important secrétaire-cabinet was crafted for and specially ordered by King George I for the British Ambassador to Russia. From its craftsmanship and materials to its exceptional artistry, it is a work of royal and historic significance that exudes power in each and every detail. The broken pediment at its apex features the simplified royal coat of arms bearing the king’s crown, while the interior is adorned by portraits of the British Royal Family. Placed within the ambassador’s St. Petersburg home, this entirely unique piece of furniture would have been a potent reminder of England's grandeur and political importance. Relations between England and Russia during this period were at an all-time high. Peter the Great had traveled to England in 1698 as part of his widely known “Grand Embassy” tour, wherein he attempted to gain foreign support against the Ottoman Empire. He spent a period of nearly four months there, meeting with King William III and his court on numerous occasions. Noted academic Arthur MacGregor wrote concerning the impact of the trip, “For two decades following Peter's visit, British influence in Russia reached a peak. It manifested itself in social custom, in craft practice and in ships and naval organization... it reached a significant sector of the population before relations cooled once again and the two nations pulled back from this era of unprecedented cordiality.” First and foremost, however, it is a reminder of British might and influence. By the reign of King George I, England had come into its own as a world power. Unique in its design, this cabinet is a reflection of the country’s might. It is crafted from the highest-quality solid walnut and burr walnut adorned by gilded lock plates and engraved hinges. The presence of ormolu at its apex and lining the doors was a rarity for this period, and its addition makes manifest the importance of the design. The outer doors open to reveal multiple interiors, including fifteen separate drawers around a central cupboard; the cupboard doors each bear mezzotint portraits of George I and his father, Ernest Augustus, Elector of Hanover. An etching after the portrait of George I dating to circa 1716 is in London’s Royal Academy. A second, inner pair of doors are adorned by mezzotints of the Prince and Princess of Wales (later Queen Caroline and George II), which are both after portraits by Sir Godfrey Kneller dated 1716 in the Royal Collection. A final portrait is revealed on the very interior of the cabinet, where a mezzotint of Frederick, Anne, Amelia and Caroline, children of the Prince of Wales, resides. An etching (circa 1715-1720) after this portrait can be found in the National Portrait Gallery (London). Apart from its abundance of royal portraiture, the cabinet features stunning painted decoration, including floral designs as well as clouds, birds and trees in a bucolic motif reminiscent of Eden. Its lower portion is a study in both form and function, featuring a fitted secrétaire-drawer above three additional drawers for storage. The cabinet appears in The Shorter Dictionary of English Furniture by R. Edwards from 1964, a text that is regarded as the bible of British furniture design. Edwards describes it as a “writing cabinet...given by George I to the British Ambassador at the Russian court.” The cabinet was likely made for the 18th-century German diplomat and writer Friedrich Christian Weber, who represented English interests at the Russian court from 1714 until 1719. Although Weber’s tenure as ambassador was relatively short, while in St. Petersburg, he authored his account entitled Das veraenderte Russland (The Present State of Russia), which was published in three volumes in 1721, 1739 and 1740. It may, however, also have been made for George Douglas, 2nd Earl of Dumbarton, who served as ambassador alongside Weber in 1716. Diplomatic relations ceased between the two countries in 1721. In 1928, the cabinet appeared for sale at the International Exhibition of Antiques & Works of Art in Olympia. It had previously been in the collection of the Woltner family of Bordeaux, the celebrated vintners who owned the estate Château Laville Haut-Brion and produced wine of the same name. According to the family, Monsieur Woltner was given the cabinet as a gift from an aunt who lived in Russia for many years. After leaving the Woltner collection, the cabinet was acquired by William Berry...

A Swedish two-part painted wood vitrine cabinet from the early 19th century with glass doors, drawers and distressed patina. Created in Sweden during the early years of the 19th cent...

A Macassar ebony secretaire side cabinet with a rectangular stepped top above an open recess and a fall front enclosing a fitted interior, flan...

Beautiful Mid-Century Modern cabinet made by Pander & Zonen, renown Dutch manufacturer of high-end furniture in the first half of the 20th Century. Pander worked with important inter...

magnificently handcrafted chinoiserie cabinet of the highest quality. This was made in England & dates from the 1930’s. This is one of the finest examples we have ever come across, ...

A Swedish Gustavian style painted wood vitrine from the 19th century, with carved rosettes. Created in Sweden during the 19th century, this vitrine cabinet features a beveled cornice...

A Barbara Barry for Henredon wooden bow front vitrine cabinet from the late 20th century with oval motifs, glass doors and glass shelves. Designed by Barbara Barry for Henredon during the later years of the 20th century, this wooden cabinet features a thin curving cornice sitting above two bow-front glass doors, adorned with thin oval motifs and fitted with a single brass pull. These doors open to reveal four glass in wooden frames inner shelves offering convenient display opportunities. The ensemble is raised on four short tapered feet. The décor on the side shows great restraint as it is left bare and the back is simply planked. With its clean lines and modern design, this Barbary Barry for Henredon vintage vitrine...