18th Century and Earlier Furniture

Renaissance cabinet from Burgundy Or Lyon Region Origin : Burgundy Or Lyon, France Period : Second Half 16th Century, C. 1580 Height : 209cm Length : 184cm Depth : 71cm Good condition Walnut wood, original keys and keyholes Around the middle of the 16th century the conception and ornamentation of French furniture evolves. The start of major building projects, such as the castle of Fontainebleau, gives artists a new impulse. Inventive and rich formulas are developed there, before spreading to all of Europe thanks to engravings and printed leaflets. Furthermore, Italian artists working on such construction sites bring French artists and patrons a renewed taste for the Antique. Regarding the art of furnitures, the most complex scenes and figures are drawn from illustrated books, ornament and emblem compendiums and engraving compilations. Rather than copying those images the artisans feed their inspiration and decline the motifs in numerous variations. The ornamental grammar marks a return to the Antique : palm leaf, acanthus, egg-and-dart, greek, scroll, fluted pilaster… It is in Primaticcio’s and Il Rosso’s stuccos made around 1540-1550 that we have to look for the origin of leather cut-outs, masks, chimaeras, harpies, sheathed figures, fruit and flower garlands that soon enrich every pieces of French furniture. The structure of the pieces of furniture also evolve thanks to the re discovery of Antique architectures, rigorously used as a model. This cabinet presents an imposing structure and a rich and original decor exemplifying the production of the late 16th century, infused with Italian, Antique and Fontainebleau influences. It stands on a moulded base ornate with palm leaves. It opens with four door-leaves and two drawers in the belt. Six whimsical terms divide the facade. The lower body is horizontally divided by three sheathed female terms. The two standing on the lateral posts are topped with fruits while the body is covered by acanthus leaves carved with precision, belted at the waist. The term standing on the central door-jamb is crowned with laurel leaves and is draped in the Antique fashion. A wincing mask hides the key hole. The two door-leaves are centred by a beautiful mask carved in a strong relief. They wear stylised feathered headdress and are set on draperies. Straps, leather scrolls, acanthus leaves and a shell are spread around the masks. The recessed panels are secured in frames ornate with acanthus leaves. The belt is flanked by two large mouldings enriched with variations of acanthus leaves. The drawers are carved with choux bourguignons and palm leaf motifs minutely executed. The consoles between each drawer bear tormented wincing masks, showing horns as if they were fauns or imps. The upper body is framed by two male terms characterised by a strong and nervous musculature, their manhood hidden by drapes secured thanks to a winged lion head. The term on the left appears to be younger and is wincing while the one on the right has a beard. The central female term brings contrast with her youth and sensuality. As it is the case on the lower body, the key hole is hidden behind the mouth of a faun’s mask placed on the drapes barely covering the intimacy of the caryatid. The panels of the upper body present an idealised architecture comprising pilasters and sinuous broken pediments. The pilasters are flanked by two satyrs with goat legs. In the centre appears an important lion mask. The terms of the upper body support the cornice. The entablature carries palm leaves and roses alternating as well as an egg-and-dart frieze. The cornice is adorned with acanthus motifs. On the sides, the carving is executed flat. A central rose is surrounded by scrolls, flowers and choux bourguignons. We can admire the variety of the elements employed. The artist vary with great genius many different ornamental motifs : palm leaf, egg-and-dart, laurel leaf, roses, scrolls … But the artist went even further as each profile and each face is individualised and presents different features. You can take a look at the faces of the satyrs flanking the upper body’s panels. The talent of the artist is undeniable. It makes no doubt the patron who commissioned this cabinet was an aesthete looking for the greatest quality. The artist who authored this cabinet had a great mastery of composition both in the general design and in the individual panels. They probably drew inspiration from engravings and drawings made especially for the making of this piece of furniture or not. They seem to be familiar with the style of Jacques Androuet du Cerceau. Indeed, we can find in Du Cerceau’s engravings the same juxtapositions of leather cut-outs, masks and fruits. The terms and caryatids used on the facade could very well be inspired by his work as well. The cabinet-maker was also undoubtedly observant of Hugues Sambin, the most famous cabinet-maker and sculptor in the Burgundy of the time. Like Du Cerceau, Sambin left an important ensemble of models particularly useful for the design of cabinets. His publication De l’Oeuvre de la diversité des termes dont on use en architecture (1572) was an essential book for every artisan. All the motifs testify of the artisan’s high knowledge of forms as well as the precision of their tools : super imposition of ornamental elements, foliages, architectural cut-outs, flat and high reliefs alternating, palm leaves inscribed in circular spaces, wincing faces. It is also a testimony of the artisan’s familiarity with Italian and Fontainebleau productions. Because of the proficiency of the cabinet-maker in so many different models, this cabinet truly is a master-piece authored by the hand of an authentic master. The generous carvings executed with great rigour and virtuosity evoke an origin close to Burgundy and Lyon workshops. This cabinet was made by a master of the region during the Second French Renaissance. Literature BOCCADOR Jacqueline, Le mobilier français du Moyen-Âge à la Renaissance, Édition d’art Morelle Mayot, 1996 BOS Agnès (dir.), Mobilier du Moyen âge et de la Renaissance, La collection du musée du Louvre, Louvre éditions...

18th Century painted English oak dresser base, a nice small size. 1790. Code: 8836 Dimensions: W: 61" (154.9 cm) H: 33.5" (85.1 cm) D: 19.5" (49.5 cm)

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An 18th century Louis XVI period Marquise (wide bergere) in original cream-colored painted finish, with a simple square upholstered back, upholstered arms and sides, with a down-fill...

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Early 18th century Italian Venetian inland painting, a large size oil on canvas Baroque mountain landscape with stream, bridge, waterfall, wayfarers and a village in the background. The woodland is animated by figures, a caravan with horsemen fishermen. This monumental Italian Baroque landscape painting has a strong impact and an excellent composition balance, as it depicts in the center the luminous perspective of a fortified village, whose side wings consist of two mountain rocks with dark wooded vegetation crowded by characters, horsemen, paths, streams.On the left side, with respect to the observer, there is a path that runs alongside a stream that flows into a waterfall in the center of the composition. from a caravan of travelers on foot and on horseback traveling along it in both directions: going up the slope on the mountainous coast you can see a church and a village near the top. The right part of the painting depicts a more sparse and dry vegetation, painted in the chromatic tones of ocher, inside of which there are dead plant, dry branches and a smaller number of figures on the rugged mountain. The iconographic inspiration of this wooded representation seems to be in the large trunk of the withered conifer in a central position, which represents a dead tree, as a? reminder of the transience of everything in life, whose phases are summarized in the two mountainous coasts. In the background a village painted in light and soft blue colors, in stark contrast to the previous scene, seems  to reassure and project us into a future season. With a suggestive theatrical effect, more than 250 cm wide, this Baroque Italian painting comes from a private collection of Milan, the canvas has been lined and shows minor painting retouches at a horizontal seam of the canvas. It is unframed, it has just a wooden profile covering the canvas edge. It is an antique Italian landscape, the perfect opportunity to make a statement. Get the perfect size painting for a great living room, to create that eye-catching focal point. You can make an impact with a single large work by hanging this early 18th century Italian Baroque painting...

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Georgian Mahogany serpentine front bachelors chest resting on tall ogee bracket feet 1790-1800. Nicely figured solid Cuban Mahogany molded edge top over a pull out brushing slide a...

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Italian school 17th / 18th century: oil on framed panel, representing The Virgin and Child Jesus, accompanied by Saint Elizabeth and John the Baptist as a child, in the foreground A...

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A fine and rare antique 18th century South Staffordshire or Battersea enamel table snuff box. The lid has a scene of two noble, young couples in...

A Flemish tapestry from the late 16th century, with the renowned Roman general, Scipio at left, after having conquered Carthage in the Battle of Zama, en...

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18th century oak sideboard from England with a plank top, following down to hand paneled sides and a single candle drawer in the front, flanked by cushion paneled drawers. There are applied turnings flanking the drawers as well, for added interest. All of the drawers have hand carved beaded...

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18th century spanish polychromed tabernacle, niche for the display of Santos. Original finish in somber tones of ochre and siena.

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A French walnut Transition period armchair from the 18th century with scrolling arms, fluted tapering legs and carved stretchers. A French walnut Transition period armchair from the ...

Antique map titled 'Novissima et Accuratissima Totius Americae Descriptio per I. Danckerts'. Striking map of America. California is shown as an island, Based Upon Sanson's model. The Great Lakes are shown with an open western coastline. No Northwestern Coast beyond 40 degrees. The seven cities of Cibola appear in the Southwestern US. The conception of the Mississippi River is still very vague and pushed far west of its true mouth. The large lake in the Southeastern US first seen on Le Moyne's map is still present. South America retains its excessively wide format. A hopeful extension from Button's Bay is shown portending a possible Northwest Passage. The map is richly embellished with two cartouches, 9 sailing vessels and elaborate vignettes of native villages, native warriors...

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18th century antique quality oak drop leaf dining table having a quality oak top with 2 oval drop leaves supported by 2 gatelegs with shaped turned supports shaped turned columns to ...

Fine and rare pair of 18th Century English dummy boards depicting a Cavalier and his Lady, he with a Van Dyke mustache, sword and leather boots, she with ...

Blue heart shaped celestite geode adorned with a coordinating naturally forming baroque pearl. The name for this specific geode is derived from the Latin word Caelestis, meaning "ce...

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Coat of arms of the House of Bourbon, an originally French royal house that became a major dynasty in Europe. It delivered kings for Spain (Navarra), France, both Sicilies and Parma....

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An unusual sculptural arrangement of two clear quartz crystals, punctuated and adorned on all sides with dark green tourmaline, watermelon colour in cross section.

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Chinese Neolithic Ovoid Pottery Jar from the Majiayao Culture, specifically the Machang phase, in northwest China, and dating back roughly 4000 years. Ja...

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