Harewood Cabinets

Piero Fornasetti was an Italian painter, sculptor, decorator, and craftsman who used ornamental and pictorial motifs to decorate silk scarves, furniture, plates, vessels, and similar...

A Napoleon III Ormolu-Mounted Marquetry Meuble d'Appui Of bow fronted arc-en-arbalette outline, the cabinet constructed using several fine woods including birds' eye maple, tulipwoo...

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 late 18th Century Sheraton period harewood Display Cabinet on Stand, of unusual small proportions. The piece, with yew-wood panels crossbanded throughout in purpleheart, having ar...

A charming and elegant book-shaped chest, made in Veneto and dating from the late 18th century, in the full Louis XVI style. This compact yet well-proportioned piece is made entirely...

A Fine Pair of Louis XVI Style Marquetry Inlaid Meubles d'Appui Constructed from a striking burr walnut, with marquetry inlays of various specimen woods including harewood, boxwood and sycamore, with amaranth crossbanding and decorated with ormolu mounts; both cabinets of rectangular outline with concave sides inlaid with a geometric floral trellis design; the whole supported on tapering toupie feet; the central door with an oval marquetry plaque...

Pair of antique display cabinets, attributable to Gillows of Lancaster Constructed in mahogany, ebonized mahogany, purpleheart, b...

Highly important and palatial Napoleon III Louis XV Revival Ormolu-Mounted Marquetry Bonheur Du Jour by Charles Guillaume Diehl, Designed by Jean Brandely, The Marquetry by E. Varlot, Paris. The rarity & importance of this magnificent piece cannot be overstated, it is without question one of the finest examples you will see. Originally commissioned for European nobility as a statement of love and marital grandeur. Incorporating the finest & rarest veneers and timbers of the time, including Harewood, Thuya, Purpleheart, palm wood and tulipwood. The beautifully shaped ormolu gallery on the top, gracefully curving outwards inset with fretted heart shapes highlight the incredible attention to detail that flow throughout this majestic piece. The upper section set either side with ormolu mounted fluted pilasters, aside two doors both individually set with masculine & feminine central marquetry panels of the most supreme quality, as you would expect from the master E. Varlot. The colors incorporated in the inlay are outstanding to behold, simply perfection. Opening to reveal the double top & bottom lock, engraved with Diehl's mark and address. Internally veneered in Rosewood of the richest color with one shelf. With two drawers below the doors, both veneered on the inside with Sycamore, one fitted for inkwells. The ormolu edged writing flap again centrally set with both a male & female figure now seated, holding hands with the lady holding a Mandoline, a true sign of happiness & love. The writing flap opening to reveal the original richly tooled velvet leather surface. The stand with one central frieze drawer, again lined inside with rosewood and with a top and bottom lock. On ormolu-mounted fluted legs. This grand Museum Quality masterpiece is in excellent condition for its age. Charles Guillaume Diehl (1811-1885) was of Germanic origins, he is considered among the most important & influential of cabinetmakers of the 19th century. He was born in Steinbach, Germany later moving to France, establishing his atelier in Paris in 1840, at the 3, Rue de Thorigny and then at the 170, Rue Saint...

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...