Walnut Cabinets

A remarkable and extremly rare William and Mary olive oyster and floral marquetry escritoire, concealing eight secret drawers, circa 1680. England. Att...

18th century Two Door Walnut Cabinet From Italy. Solid walnut construction with original hardware and key. Superb patina.

High chest of drawers restored Spain around 1700 walnut Features: Mid-height model with three drawers Heavy quality Cassette fillings Drawers pronged Original handles Very n...

A beautiful Queen Anne walnut secretaire chest / escritoire, circa 1710 in date. The upper section features a moulded cornice above a secret bulge front frieze drawer, this is above a hinged fall front clad in burr walnut-figured book veneers framed in broad cross-banded borders edged with feather-banding. The interior housing three pairs of pigeon holes concealing secret compartments above a central cupboard flanked by three side drawers on each side with six further drawers below, all clad in burr figured veneers edged with feather banding and fitted with brass pendant handles. The rear of the central cupboard is a concealed panel that sildes away to reveal four further secret drawers. The base of the chest comprises two half-width drawers above two full width drawers, all fitted with pendant shaped brass drop handles, The cabinet is raised on bracket feet. The walnut secretaire is outlined throughout with decorative herringbone stringing. Complete with working locks and original keys. Condition: In excellent condition having been beautifully cleaned polished and waxed in our workshops, please see photos for confirmation. Dimensions in cm: Height 176 x Width 102 x Depth 59 Dimensions in inches: Height 5 foot, 9 inches x Width 3 foot, 4 inches x Depth 1 foot, 11 inches Anne was Queen of England, Scotland and Ireland from 8 March 1702 until 1 May 1707. On 1 May 1707, under the Acts of Union, the kingdoms of England and Scotland united as a single sovereign state known as Great Britain. Anne continued to reign as Queen of Great Britain and Ireland until her death in 1714. The Queen Anne style of...

These elegant, antique bedside tables were created in Spain, circa 1800. Both matching cabinets are made of solid walnut; they have a recessed center carved door flanked by a pair of inlay...

A pair of 18th century central or northern Italian walnut bedside cabinets. In remarkable antique condition, having original back boards and or...

These elegant, antique bedside tables were created in Spain, circa 1800. Both matching cabinets are made of solid walnut; they have a recessed center carved door flanked by a pair of inlay...

An unusual George I 'mulberry' cabinet in the manner of Coxed and Woster. The cross banded and veneered walnut doors reveal a fine fitted interior which is also beautiful veneered, i...

French walnut decorative commode. circa 1880 This decorative commode is raised upon typical French shaped legs. The frieze being of a shaped form. Featuring 2 doors with Chinese ...

The rectangular locker rests on chest with legs, and has four drawers decorated with diamonds that lock and fittings and shield shown horseshoe. Answer...

Rectangular top with molded edge over a long drawer, above a pair of paneled doors carved with diamond-shaped motifs, raised on plinth base.

Exceptional Pair of Small Italian Cabinets in a Bleached Walnut, Tuscany region, 18th century, each with one drawer and a door, very fine scul...

A handsome Italian 17th century Baroque period Walnut and burl Walnut cabinet. The smaller scale one door twelve drawer table top cabinet is raised by impressive paw feet below a lar...

A handsome Italian 17th century Baroque period Walnut and iron specimen cabinet. The three door eleven drawer cabinet is raised by impressive paw feet below a mottled border with a striking reeded gadroon like design. At the center are two doors decorated with arch shaped recessed panels with fine foliate carvings and iron lion head pulls flanked by remarkable columns with large acanthus leaves and richly carved personages. The two drawers also display handsome lion head iron...

RARE ITALIAN RENAISSANCE PERSPECTIVES SIDEBOARD WITH FAN-SHAPED PEDESTAL ORIGIN: TUSCANY, FLORENCE PERIOD: 16th CENTURY Height : 143.5 cm Length : 133 cm Depth : 54 cm Li...

Arguably one of the most recognizable pieces of furniture to emerge from the historical French province of Provence, this panetiere “bread safe” was hand-ca...

circa 1750 18thC French walnut bombe chest Commode Measures: W 133 x D 64 x H 95cm.      

A late 18th Century French Directoire Period buffet à deux corps or bibliotheque made of solid walnut and cherry wood with pine inlay outlining the glass panes. Pine as a secondary w...

Important 18th century secrétaire or writing cabinet elaborately made in the baroque period in West Germany around 1770. Different kinds of fine nutwood/ walnut were used to set up a...

This is a beautiful antique late 18th Century Dutch walnut and marquetry inlaid display cabinet dating from circa 1780. The cabinet is superbly inlaid all over with the most wonder...

The upper body has two closed shaped doors, also inlaid inside, on solid oak. Original locks and hardware. On the inside, the cabinet is divided into drawers and open compartments, i...

Impressive two-door baroque cabinet or armoire in oak and walnut. From a Danish manor house, c. 1730-1750. This large-sized cabinet features an architecturally architecture includi...

Small renaissance cabinet ORIGIN : FRANCE PERIOD : END OF THE 16th CENTURY Measures: height: 167 cm length: 123 cm depth: 58 cm This small two-part unit with harmonious proportions opens with four front leaves and two belt drawers. It rests on a molded base. The uprights and the central frame of the lower body are adorned with long stylized palmettes. They frame the four leaves on which unfolds a vegetal decoration made of stems and leaves sculpted in symmetry around two mascarons topped with feathers...

An Anglo-Dutch William and Mary Seaweed Marquetry cabinet on stand by Gerrit Jensen, Royal Cabinetmaker England, circa 1690 The cabinet is c...

Renaissance Armoirette frontage ORIGINE: FRANCE EPOQUE : 16th CENTURY Measures: height : 90 cm length : 65 cm depth : 10 cm Walnut The armoirette is used to store valu...

Small two-body buffet decorated with bird feathers ORIGIN : FRANCE PERIOD : 16th CENTURY Measures: height: 170 cm length: 106 cm depth: 51 cm Walnut wood This cha...

SMALL RENAISSANCE CABINET ORIGIN: PROVENCE PERIOD: END OF THE 16th CENTURY Height: 175cm Length: 102cm Depth: 50cm Blond walnut This small cabin...

Outstanding Italian walnut, parquetry bureau cabinet fruitwood inlaid with scrolling foliage, The upper section with a shaped carved cresting centere...

An antique 18th Century French Provincial panetiere, bread safe. Walnut with iron hardware. Features decorative carvings to cornice, door & apron, turned sp...

German; Baroque; leached walnut; three-door; cabinet; cupboard; German Design; Germany; 17th century; 18th century; A German Baroque leached walnut cupboard, carved and highly de...

Rectangular top over two drawers and a cabinet door.

17th century William and Mary burr walnut cabinet on chest, circa 1690. England. Concealing two secret compartments. The Cabinet The cross-grain cornice...

This is a superb antique Dutch Rococo burr walnut bombé Armoire, circa 1780 in date. It has been accomplished in stupendous burr walnut with masterf...

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...

Important monumental cabinet on stand. The case of the cabinet is walnut, veneered with rich rib boned ebony and luxuriously decorated with turtle ...

The Marot cabinet A Magnificent Walnut Burr Cabinet on stand or 'kruisvoetkabinet' in the style of Daniel Marot Circa 1720, probably made for George Clifford III in Amsterdam or the Hague The cabinet is one of the rarest examples of a so-called Kruisvoetkabinet, which is translated to Cabinet on stand. The cabinet is raised on a stand with eight legs and tree drawers. Below the drawers and on the sides are five carved ornaments. The hollow formed corners are mounted with carved ornaments too. The upper part of the cabinet has two doors decorated with panels and on each door two carved ornaments in Marot style. The cabinet has a double dome top.The interior of the cabinet has tree shelves and five drawers. The brass fittings and handles are original and finished with gilt lacquer. The cabinet is made of oak and veneered with burr walnut. The carvings, turned parts and the ball feet are made of solid walnut. This cabinet is a unique piece of Dutch furniture. Cabinets on stand became popular in the third quarter of the 17th century and were made until the second quarter of the 18th century. Most of the dutch cabinets on stand...

As soon as 1540 France's second Renaissance is in the making, intimately linked to the rediscovery of the Antique world. The development of the printing and engraving industry allows the spread of artworks and models in many cities and countries. The Italian influence can be perceived in every artistic field. While the French king entrust the most talented Italian artists with major projects such as Il Rosso or Primaticcio in Fontainebleau, French artists also travel to Italy to form themselves to this new style. In Italy they get acquainted with the work of Leo Battista Alberti the first to theorize perspective (De Pictura, 1435-36) and architecture (De re oedificatoria, 1541). Those two publications would have a revolutionary impact on arts. Furniture is marked by the work of the most famous Italian architects of the time as well as French architects. Indeed Philibert de l'Orme competes with Alberti and by the end of his life publishes several treaties including one devoted to a theory of architecture (1567). Unfortunately he would not live to complete the second volume. In this treaty he expresses his interest for mathematical norms applied to architecture, copied from the Antique. His journeys in Italy allowed him to accumulate the most sophisticated references. Jean Bullant, another architect of great talent also theorizes his practice. He establishes rules characterizing Greco-Roman art staying faithful to Vitruvius. Following this new inspiration the structure of furniture evolves. From then on appear columns, capitals, cornices, friezes and architraves. The ornamentation uses this inspiration as well with egg-and-dart, palm leaf and rose adorning the most beautiful pieces. In Lyon, crossroad where meet merchants from everywhere those new experiments are welcomed. Lyon florishing printing industry allows the spreading of models and treaties essential to the artist's work. Thus the first publication of Vitruvius' De Architectura in France would be printed in Lyon in 1532. Artists from Lyon rediscover and familiarize themselves with the Antique knowledge very early. They adopt those new ideas and use them in their own creations. Lyon cabinet-makers re interpret Antique architecture and Italian Renaissance palaces to give their pieces a pure and harmonious architectural structure. Grooved pilasters are particularly favored. They are topped by capitals of diverse orders always respecting the sequencing with simpler ones for the lower levels and the richest ones on the higher levels. As for the ornamentation, one of the great distinctiveness of Lyon workshops remains the architectural perspective illusions, drawing inspiration from Tuscany. True masterpiece of the Second French Renaissance this important cabinet illustrates Lyon workshops' taste for fine Italian architecture inspired by Antiquity. An architectural perspective of great quality is treated in symmetry on each panel. This two-bodied cabinet without recess stands on four rectangular feet. The base comprises a molding, a palm leaf frieze and is bordered by a braid. The lower body is divided by three grooved pilasters with Tuscan capitals framing two door-leaves. The two panels are encircled by a moudled frame with palm leaves. They are finely carved with a decor of fantasized architecture depicting an Italian Renaissance palace erected symmetrically on each side of a grooved pilaster. On the ground floor a door opens through a stilted arch while the stories are opened with mullioned windows, dormers and occuli. Two large pegged-boss cladded pillars support the entablature enriched by a palm leaf frieze upon which stands an arch whose coffered intrados is centred by a rose. Behind this arch a pyramid appears, standing in front of a second facade with a window topped by a broken curvilinear pediment under a cul-de-four with a shell. The checker flooring gives depth to the low-reliefs creating vanishing points structuring the panels and guiding the eye of the observer. A thin laurel braid highlights the belt of the cabinet where are located two drawers. Their facades are adorned by palm leaves in hoops. The upper body is encircled with palm leaves. The same ternary division as in the lower body appears. However, the pilasters are topped by Ionic capitals with volutes and egg-and-dart. The door-leaves are framed with flowers. On the panels the artist has designed another architectural decor. On the foreground open two arches on top of grooved pilasters with rectangular capitals adorned with palm leaves. The arches are enriched with braids and the coffered intrados bears a decor of roses. The spandrels also bear a flower decor. In the background another arcature hosts a fluted grooved column topped with double basket acanthus capital, characteristic of Corinthian order. The triangular pediment is interrupted by a choux bourguignon. A large cornice crowns the cabinet. It stands on pilasters and forms an entablature comprising a palm leaf frieze and an egg-and-dart, triglyph and palm leaf cornice. The cabinet's sides have also been carefully considered. The lower body's panels are enriched with an arch rising above a broken pediment portico hosting a twisted column. Flowers garnish the spandrels. An architectural facade completes the decor. The upper body's panels present two arches supported by a facade opened with dormers and mullioned windows as well as cartouches (one bears the inscription 1580 dating the cabinet) suggesting the interior of an Italian Renaissance palace, confirmed by the chandeliers. The flooring leads our gaze to a second arch with a broken curvilinear pediment where stands a flower vase. This arch opens onto a perspective of another facade along a road. Inside the cabinet, on the lower body door-leaves appear two designs. On the right door is depicted a Crucifixion. Saint Mary and Saint John flank the Christ on the cross. In the bottom part is inscribed « Dure uiator abis nihil haec spectacula curas / Pendenti cum sis unica cura Deo. / Tota suo moriente dolet natura Magistro. / Nil qui solus eras caussa dolenda doles. ». The signature [Christoff Swartz Monachiensis pinx[it] / Ioa[nnes] Sadeler sculp[it]] tells us it was made by Johan Sadeler I (1550-1600) after Christoph Schwartz (1548-1592). This engraving belongs to an ensemble depicting the Passion of Christ Johan Sadeler executed in 1589 after an altar piece painted by Christoph Schwartz for the private chapel of Renée of Loraine, wife of Duke William V of Bavaria. This altar piece made of nine copper panels has been destroyed during the 19th century. The Crucifixion panel once in the centre of the altar piece is the only one that survived and is today kept in Munich's Alte Pinakothek. On the left door appears Saint Francis receiving the stigmata. The inscription says : « Signastidomine Servum Tuum. Franciscum. Signis Redemptionis Nostrae ». This Renaissance cabinet with an architectural decor appearing as much in the structure faithful to Antique rules...

With a rectangular top with molded edge over a frieze with two drawers flanked by three acanthus carved corbel shaped drawers, pair cabinet doors below wi...

Fantastic and Rare display cabinet double dome Of English provenance, made of oak wood and walnut burl. Original hardware. No replacement work in either front or back. Cabinet in ex...

This rare Renaissance cabinet is richly decorated on the doors and drawers with carvings depicting the four seasons, and on the uprights and the entablature, alternating flower bouquets inlaid with mother of pearl. This is a beautifully conceived piece of furniture, representing a crowned portico with its entablature and cornice. The upper body Articulated separately in a ternary rhythm, as with the lower body, the upper part opens with two carved doors. The doors are framed by both the lateral uprights and the casing. There are cartouches carved into the casing in which mythological figures are depicted with flower bouquets. On the doors: On the right: Spring, a female figure crowned with a wreath of leaves, holding a basket full of flowers. She is wearing necklaces and bracelets on each arm, with drapery discretely wrapped around her body and is standing on a winged putti’s head. On each side are depicted a tree and a village with a steepled church. Above her head floats the three signs of the zodiac corresponding to the season: Aries, Taurus and Gemini. On the left: Summer, a bearded man crowned with ears of corn and bearing armfuls of corn. He is standing on a similar winged putti, flanked by a tree and an ear of corn. The following three signs of the zodiac appear: Cancer, Leo and Virgo. On the uprights and the central casing a number of smaller figures seem to represent virtues and vices that newly wedded couples should aspire to and avoid. On each side, at the bottom of the uprights, there is a dog representing fidelity. Above, a lion embodies power, wisdom, and justice. In between, on the left upright, there is a figure of noncombatant Athena wearing a helmet and holding a spear, an arrow pointing down and in her left hand, a shield, symbol of protective power. On the right upright, the goddess Venus controls the arrow of Cupid. The iconography here acts as a clear reminder of the required virtues that both parts of a young couple need to fulfill: fidelity, power, wisdom and justice. For him, the goddess Athena focuses on the power. Whereas for her, it is Venus who shows how to control Cupid’s arrow. On the central casing at the bottom, by way of contrast, there is a peacock, a symbol of pride and at the top, a monkey representing lust and mischief. In between, a woman holding a chain and a cup full of precious stones while on the floor sits a half empty opened casket. This can be interpreted as a symbol of extravagance. Above, the entablature, decorated with male figures resting on leaking urns, may symbolize the passing of time. They are flanked by two consoles decorated with acanthus leaves and separated by flower bouquets (inlaid with mother of pearl). Finally on top, a cornice acts as a crown for the piece of furniture. The lower body The moulded base stands on four round, flattened feet. Represented on the doors: On the left: Autumn, a stocky, naked man crowned with vine leaves, holding fruits in his right hand and with his left, picking a bunch of grapes from a climbing vine. Standing on a mound, he is surrounded by a vine and a hill, at the foot of which a man presses the grapes in a big vat after the harvest. Above the climbing vine appear the signs of Libra, Scorpio and Sagittarius. On the right: Winter, an elderly man wearing a fur cloak...

Fontainebleau renaissance cabinet bearing the Dodieu’s family coat-of-arms Origin : ILe De France, School of Fontainebleau Period : Second ...

Spanish desk (“bargueño”) in walnut. 17th century with “bridge-shapped”. Decorated on the exterior with metal applications (open-work, textile background) and bow handles with central lentil. It stands on a "foot bridge...

Two-door miniature top furniture with two-drawer dresser base and broken pediment top. The body is veneered in walnut and has brass fittings. The interior consists of one shelf and t...

A French early 17th century large scale period Louis XIII walnut armoire with two doors over two drawers, geometric décor and original hardware. With this piece, we are in the middle...

A very handsome 18th century Mobiletto - side chest from Bologna. Wonderfully constructed with 1 drawer and interior shelving resting on bracket feet in beautiful walnut. Rich patina...

A William and Mary walnut floral marquetry chest, circa 1690. The rectangular ogee moulded top with a central banded oval inlaid with spring ...

Small renaissance cabinet from Lyon. ORIGIN: FRANCE, SCHOOL OF LYON PERIOD: 16th CENTURY Height:151cm Depth: 120cm Length: 54cm Walnut ...

Renaissance cabinet with a quill-feather decor. ORIGIN: FRANCE PERIOD: 16th CENTURY Height : 162 cm Length : 134 cm Depth : 54.5 cm Blond w...

A beautifully aged Gothic Revival cabinet crafted from walnut, circa late 18th-early 19th century. The wood is a warm reddish brown. It has accrued a fine, textured surface that can ...

A rare carved walnut wardrobe opening with four door-leaves and two drawers in the lower part. The doors bear architectural views in low reliefs, fluted pilasters and Ionic capitals. Upper Body Two door-leaves with carved architectural perspectives open the wardrobe framed by three fluted pilasters with Ionic capitals. Each door-leaf depict two semi-circular arcades whose cornice and base shows a central vanishing point. Likewise the pavement’s lines act for the artisan as a way to create depth. The vaulting instead leads us to think the vanishing point has to be situated where the handle is, between the two complementaries reliefs. The elegant moulded belt hides an internal secret space, accessible through a moveable plank in the upper body. Lower Body Two door-leaves identical to those of the upper body framed by three fluted pilasters with Doric capitals. The base of the wardrobe opens with two large drawers. The sides also bear panels depicting architectural perspectives. The external pilasters share their Ionic capital with the facade’s pilasters. Thus we can observe on the wardrobe’s sides the capital’s lateral parts with the elegant volute specific to the Ionic order. This palace wardrobe is topped by an overlapping cornice standing on three consoles for the facade and two consoles on each sides. Placed right above the pilasters each console are adorned by fully expanded leaves. During the 15th century a major interest for architecture and perspective studies arises and influences patrons tastes. The work of great theorists such as Leon Battista Alberti...

An important, grand scale, and wonderfully aged example of an Italian inginocchiatoio. The piece originally meant for storing reliquaries, books, and kneeling in prayer has a rectang...

18th Century French walnut armoire with doors strongly moulded in many curves and counter-curves. The “chapeau de gendarme” cornice richly carved f...

Small cabinet by L’ecole De Fontainebleau Incrusted with marble tablets Origin : VAL-DE-LOIRE, France Period : 16th century Measures: Height : 170...

Collection Jean Thuile Around the mid-sixteenth century French furnishing evolves in its conception and ornamentation. The start of major archi...

Superb Antique French Walnut Renaissance Revival Cabinet, Buffet or Cupboard~~"Deux Corps"~~Bar or Liquor Cabinet~~Highly Carved~~18th Century ...

An Italian neoclassical period walnut demi-lune cabinet from the 18th century with yellow marble top. Created in Italy during the 18th century, this demi-lune cabinet features a semi...

An impressive and unusually tall Venetian black walnut and burled walnut secretary. The mirrored top cabinet doors opening to reveal a multi dr...

What a wonderful piece, full of character with the ornaments at the base and the putties carved in the wood.