16th Century Cabinets

This chest drawers in the form of a stairway (Kaidan Tansu) during Edo period (H208cm,W60cm, D137.5cm), and could be displayed separately in two parts. Th...

The chest in question is an elegant piece of furniture made entirely of chestnut wood. Its manufacture dates back to the Renaissance, around the second half of the 16th century, by T...

Step into the opulent world of the Italian Baroque era with this extraordinary 17th-century cabinet. Meticulously crafted with unparalleled artistry, this ebony and ebonized cabinet ...

Very beautiful German cabinet probably black forest dated 1590 in walnut. The drawers as well as the door have superb chiseled locks. Which is a monumental work and a sign of the be...

An exceptional 16th Century Spanish walnut and boxwood table cabinet from Catalonia, also known as an arquilla. The fall is richly inlaid with bone, creating a decorative scene of tw...

Beautiful model of chest in carved walnut with features typical of the late sixteenth century in Florence with the addition of parts decorated with grotesque lean tempera on a chalky background. Used as a small travel chest, it is complete with an antique lock...

RARE RENAISSANCE FLORENTINE WALNUT CABINET WITH CERTOSINA DECORATION ORIGIN: FLORENCE, ITALY PERIOD: END OF 15th CENTURY – BEGINNING OF 16th CENTURY Height: 129 cm Length: 107 cm...

RARE RENAISSANCE CABINET WITH FEATHER QUILL AND FENESTRATION DECORATION ORIGIN: FRANCE PERIOD: EARLY 16th CENTURY DIMENSIONS : Height : 178 cm Length : 145 cm Depth : 58 cm Walnu...

A very rare Spanish 15th/16th Century walnut casket, also known as an arqueta. Circa 1500. Exceedingly finely decorated with Gothic decoration a...

16th Century Period Renaissance Tuscan Walnut Credenzino Italian 16th/17th century Renaissance walnut small Credenza with a rectangular top above a single drawer centered over a s...

Bargueño writing desk, cabinet in walnut tipical from Portugal. This sort of early chest of drawers were use for papers and documents, it was used as a transportable writing desk. ...

Very beautiful German cabinet probably black forest dated 1590 in walnut. The drawers as well as the door have superb chiseled locks. Which is a monumental work and a sign of the be...

An exceptionally fine late Renaissance walnut cabinet from Tuscany. The two-part cabinet comprises an upper section of three cupboards concealing double shelves, and three drawers, d...

EXCEPTIONAL RENAISSANCE TWO-BODY CABINET OF BELLIFONTAINE INSPIRATION ORIGIN: FRANCE, BURGUNDY PERIOD: SECOND RENAISSANCE, AROUND 1560-1570 Hei...

Handsome and dignified, this antique Provincial cabinet combines understated simplicity with a beautiful auburn finish. Made in Portugal in the 16th century, paneled doors unlock wit...

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...

COUNTER cabinet 17th century. Italian, in different woods, inlaid and engraved bone plaques, felling top, ten drawers inside and a hatch with two draw...

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...

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...

An exceptional George II design Chinese Chippendale mahogany open fret cabinet, suitable as a bedside or drawing room dwarf book cabinet. The Chippendale ...

A fine Chippendale design marquetry inlaid satinwood pier cabinet. The base is designed as a cupboard with adjustable interior shelves. There is a cent...

A large, museum-quality, late-16th century, cedar, Venetian, cassone on its original stand ; the sea creature ornament probably drawn from De la Cosmographie Universelle, livre III, engraving 1550-1568 • This is the only, known, cassone of this type retaining its original stand. • The collection in Italy that it originally came from was a palazzo that it had reputedly been in for generations of the same family and this most likely why the stand has survived. • The decoration is very unusual, and delightful in the array of sea creatures depicted. The connection of the region with the sea is very strong. • The inner lid is very practical and can be used for display or serving. The interior offers masses of storage space which is particularly suitable for textiles being cedar which repels moths. • The cassone is a beautiful, rich colour and has developed a lustrous patina. • The cassone is Illustrated & discussed in discussed in ‘Woods in British Furniture Making’, (Bowett) c13 Provenance: Private collection, Mayorca. Private collection, Italy Related to: Cassone in V&A collection, no 4886-1858 Width 177 cm., 70 in., Height 87 cm., 34 ½ in. Depth 68 cm. 26 ½ in. With lid open 155 cm., 61 in “Late 16th and 17th century, London inventories confirm that cypress wood chests were relatively common in prosperous households. In 1598 there was a cypress chest in the hall of John Mason, a vintner, valued at 50 shillings. It was the most expensive piece of furniture in the house. Similarly there was a ‘fair cypress chest’ in the great chamber of Adrian Moore, haberdasher, in 1618, and a cypress chest worth £ 9 in the hall of Thomas Willis, a clotherworker in 1630. The chests were sometimes described as ‘great’ or ‘small’ but not otherwise described – presumably they were familiar to the compilers of the inventories. They were placed in halls, chambers and parlours, places where they would have been on prominent view. It is noteworthy that only the chests were imported and not, apparently, the wood. “ (p282, Cypress, Woods in British Furniture making) The decoration is very unusual, and delightful in the array of sea creatures depicted. The connection of the region with the sea is very strong. I have never seen one of these chests on its original stand. The collection in Italy that it came from was a palazzo that it had reputedly been in for generations of the same family and this most likely why the stand has survived. In practical terms, the stand makes the chest a comfortable height to use. The exterior of the chest is a beautiful, mellow colour and has developed a lustrous patina. The top comprises three planks faced with a shallow, cleated, moulded edge nailed on. The front retains its original hasp and lockplate and, as is commonly found, the lock has been removed but, unusually the original ring hinges have survived. The top opens to reveal an inner lid with ring hinges and a brass ring, revealing a large open storage compartment below, the bottom lined with an old fabric. The underside of the lid retains its original penwork and pierced decoration. The central panel depicts sea creatures, sharks, flatfish, monster fish, sea horses, Neptune and mermaids, probably drawn from De la Cosmographie Universelle, livre III, engraving 1550-1568. The panels either side depicting a crown, the sun and unicorns amongst stylised floral sprays. The surrounding naive penwork border features repeats of three naked ladies in the sea, a man wearing an animal mask with two dogs in a forest and a huntsman with two dogs. The floor of the inside of the cassone is upholstered in an 18th century red and yellow striped woven textile the colours of the Catalan flag. The front is decorated with pierced, silhouettes of beasts, trees and figures. The sides are plain with iron carrying handles. On its original stand, with similar decoration, and bearing a cartouche which would have been decorated with the arms of its original owner. Italian, last quarter of the 16th century. Condition Report : Old repair to bottom left moulding of top. Some hairline cracks to top. The hasp, lockplate and ring hinges are original, the lock has been removed. Handles probably 18th century. The inner lid was probably added in the 18th century and supporting mechanism in the 19th century. Exceptional original, lustrous colour and patina. Measures: Width 177 cm. 70 in., height 87 cm. 34 ½ in., depth 68 cm. 26 ½ in. The cassone was the principal piece of furniture in 16th century, Italy. These chests were made as bridal gifts for nobles and aristocrats from cedar specifically for storing their much prized and valued hangings, clothing and linens, as the wood repels moths and the sweet fragrance delicately scents fabrics. Consquently the cassone, as in this example might be decorated with the family coat of arms or with depictions of virtue and edifying episodes from the Bible. A young woman could not be allowed to enter marriage without some instruction. Later, many cassoni were taken apart so that the decorated front panel could be hung as a painting. The stand of this cassone has a cartouche that would have contained a painted coat of arms in the centre which shows that it was conceived for a noble family. Such cypress or cedar chests, incised in bas relief and pyrographically engraved, have long been associated with Venice and typically have a naïve decoration on the exterior. Literature: The 'cypress chests' containing 'arras, counterpoints, costely apparel, tents, and canopies, fine linen, Turkey cushions...

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 ...

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...

This stipo, little Italian cabinet made of walnut and walnut burl, is a remarkable example of Mannerism applied to decorative arts during the late 16th century. While the Manneris...

The cabinet’s upper body, slightly recessed is topped by an overlapping entablature and cornice supported both in the front and the rear by four fluted columns. The lower body stands on four squared feet and a moulded base. Each door-leaf’s panel is centred by a low-relief carving presenting one of the four evangelists...

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

This cabinet is composed of two bodies, the upper one being recessed. The extraordinary proportions are enriched by a mythological and floral carved decor. The Lower body stands o...

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 Renaissance sideboard-credence. This piece of furniture, originally a very large chest from the 16th century chest from the 16th century has three panels carved with mascar...

Provenance : Chabrières Arlès collection then through descent Under the reign of Henry II, during the French Renaissance, the rigour of composi...

Exceptional Renaissance Cabinet from Lyon Origin: Lyon, France Period: 1540-1580, Second French Renaissance Measures: Height: 188 cm Length: 132 cm ...

Walnut burl veneered cabinet, the uprights on the front, also in walnut wood, are richly carved: starting from the bottom there is a shelf in the s...

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

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...

The lower part It stands on an ogee molded base and four feet with two front legs more massive and detailed than the others. It opens with two doors and three drawers. The vert...

Rare carved Renaissance cabinet Period : 2nd half 16th century, ca. 1570 Origin : France, Burgundy or Languedoc This cabinet embody the produ...

Original lock and key This piece of furniture shows no recess on its upper part. It opens with four folding-doors and two drawers within the belt. The key bears the date 1524 above cross motifs. Burgundy and Lyon regions subordinated themselves to architecture in a different manner than the other french schools. Rather than using particularly columns and pediments pieces of furniture from Lyon borrow architecture’s organization principles and rigorous designs. On the upper body a strong feeling of balance and symmetry appears with the folding doors reliefs. Swags of flowers and fruits held with knot cloth centered by a man seating on his arms. Here profiles, masks and chou de Bourgogne mingle with the structuring scrolls. The two lateral terms wear draperies and the goddess Diana in the center wears a belt of fruits similar to Hugue Sambin’s designs (Termes de Diane et de Venus, 1554, BNF). The two palm-leaves enriched drawers and the alternating scrolls belt balance the weight of the cornice with its alternatings consoles and tops. The lower body is also adorned by three terms with a feminine one in the center, all three are wearing fruits on their heads. The folding doors are centered upon a motif of cut cuirs by a mask in high relief. Wearing a feathered tiara...

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...

This Renaissance Cabinet reveals the great mastery of the Lyon workshops which are at the origin of its realization. Sculptors and wood-carvers worked here in symbiosis to express an...

Rare and well-preserved 16th century cupboard / cabinet. Detailed carved top section depicting a floral leaf design and people in polychrome lacquer. Front with red lacquer, pair of ...

Former collection Altounian At the beginning of the reign of Henri II (1547-1559) the furniture’s ornamentation evolves. The few medieval motifs that were still used are eventually relinquished. Furniture becomes more sober showcasing moulded panels and perfect architecture. Cabinet-makers use ornaments such as curved fluted or plain columns, feather quills, roses or winged putti heads. High-relief carving becomes more scarce and compositions lighter. To that end cabinet-makers draw inspiration from Fontainebleau motifs filtering them and adapting them to French taste. During this period cabinet-makers turn into a kind of architects. Indeed the architectural balance of furniture is the centre of their concerns. The study of Antic formulas is then a necessity. From this care given to proportions appear refined cabinets with pure lines. This style is characteristic of the reign of Henri II and disappears soon after under the regency of Catherine de Medici (1560-1574) when an abundance of high and low-relief ornaments comes back on furnitures. This two-bodies cabinet...

The Middle Ages dresser is a piece of furniture divided in two parts. The bottom part is open while the upper part is full and closed. The upper part is decorated with an abundanc...

On the left post of the lower body, is written the date 1596 in a cartouche This cabinet has two bodies. The upper part, set back, is moulded and carved. At the bottom, the cabine...

Condition : Partly dating from the Renaissance. The backs and the drawer’s insides have been re-done. Historical background The 16th century is a prosperous period for Lyon...

A fine nasrid or post-nasrid fall-front wooden cabinet Spain, late 15th/16th century on four squat bulbous feet, of rectangular form, the front and top inlaid with eight-pointed star...

Elegant oratory or prieu dieu (prayer Kneeler) in walnut and burr walnut from northern Italy circa 1600 Very beautiful Italian Renaissance furniture...

Presenting an absolutely stunning 16th century carved Spanish oak writing desk and cabinet, with amazing provenance and historical and literary significance. This desk/cabinet was purchased by a wealthy Dallas family from a French antique auction held at the club room in the Stoneleigh court (hotel), Dallas on Wednesday the 2nd April 1930. (Now the meridian hotel). The auction was titled: “works of art and furnishings of the Chateau de Turique (Nancy) and the Conde-Rougemont home (Touraine). The cover of the catalog also has a seal of a coat of arms. The second page gives a brief description of the auction contents and states that " this exhibition will be presented by M. Fernand M. Adda of Paris France". The desk/cabinet was lot no: 565 and was described in the auction catalog as: "Carved Spanish writing desk and cabinet...... 16th century period....Upper section a cabinet with two doors which are paneled and display a fine carving. The interior is fitted with eight engraved drawers, and a writing tablet is disclosed in the lower portion. Sustained and central arcade of columns. From Fontana Rosa collection. Supported on four turned legs with bulbous feet." Fontana Rosa is a historic garden situated on the avenue Blasco Ibáñez in Menton, Alpes-Maritimes, on the French Riviera. The Spanish writer Vicente Blasco Ibanez (1869-1928) began to build it from 1922 on, and he set up home here with his second wife, Elena, and died there in 1928. Vicente Blasco Ibanez was a journalist, politician and best-selling Spanish novelist in various genres whose most widespread and lasting fame in the English-speaking world is from Hollywood films adapted from his works. The provenance is impeccable, it belonged to Ibanez and was part of his collection at Fontana Rosa when he died in 1928. The auction in which it was first sold in Dallas was in 1930, which makes perfect sense from a 'timeline' point of view. Ibanez is a very important literary figure. Having regard to the fact that this is a writing desk means that in all probability, Ibanez would have 'penned' some of his famous works at this very desk and using the surviving slope/shelf. Fontana Rosa is a historic garden situated on the Avenue Blasco Ibáñez in Menton, Alpes-Maritimes, on the French Riviera. The Spanish writer Vicente Blasco Ibáñez (1869-1928) began to build it from 1922 on, and he set up home here with his second wife, Elena, and died there in 1928. This garden with Spanish and Menton pottery is found in avenue Blasco Ibanez, near Garavan station, and was created a Historical Monument in 1990. It is also called “Le Jardin des Romanciers” (El Jardín de los Novelistas/The Garden of Novelists), and was frequented by celebrities such as Jean Cocteau. It was the place where Blasco Ibáñez wrote Mare Nostrum, a novel filmed later in 1926. The garden inspired by Andalusian and Arabian-Persian styles contains species such as Ficus macrophylla, Araucaria heterophylla , palm trees, banana trees or scented rosebushes. It is a tribute to Vicente’s favourite writers : Cervantes, Dickens, Shakespeare or Honoré de Balzac, whose busts can be found at the entrance and to whom he dedicated several fountains and rotundas. Its main buildings are a small elevated villa with polychromatic pottery which houses a library and a personal movie projector...

French Henry II Deux-Corps cabinet, in two parts. Of linear design and interesting, unusual proportions, the top part with two-doors over two drawers, bottom with two larger drawers ...

Beautiful Renaissance two-body buffet with four doors and six drawers. On the upper part of the buffet, who hide two secrets drawers, an alternating band of three masks, represents a mythological scene: Zeus changed into a swan seduces Leda on the banks of the Eurotas. The sides of the buffet are decorated with foliage and vines. The doors cornices...

Unique and rare cabinet with an open base, finished all around, so it could be freestanding in the room, the front panels intricately carved with gothic tracery work, the side and ba...

Decorative English Oak "Food" or Aumbry Cabinet inspired by 16th Century examples, but of 19th Century manufacture. (See Victor Chinnery, Oak Furniture, the British Tradition) Open c...

Beautiful French Renaissance cabinet in two parts. The top part with two carved doors featuring classical figures opening to an interior fit...

Very attractive, rare and large Gothic cabinet / sideboard with three drawers over two doors, constructed in three parts. beautiful Gothic tracery work,...