Tulipwood Case Pieces and Storage Cabinets

Louis XV Style Tulipwood and Crossbanded Rouge Marble Top Commode, late 19th century, retailed by A. Mailfert, Orleans, the rounded rectangular molded marble top above an arrangement...

French Louis XV-XVI transitional period commode with lovely marquetry in satinwood, rosewood and tulipwood, Gris Sainte Anne marble top and three drawers. The commode features a cent...

18th century French inlaid tulipwood and marble top corner cupboard, having a shaped and moulded edge rouge marble top above a two door cupboard opening to reveal single shelf inside...

An Exceptionally Rare Secrétaire à Abattant After the designs of Jean-Henri Riesener for Marie Antoinette By Paul Sormani of Paris Of upright rectangular form with canted corners a...

A vitrine in the Louis XV French styling, with 2 glass doors and a marble top. The case is veneered in Walnut with tulip wood and rosewood and the ormolu mounts give it a formal char...

A very fine French 19th century finely chased ormolu-mounted Regence style kingwood, tulipwood and satinwood marquetry and parquetry commode with brêche d' alep marble-top. The serpe...

A stunning and extremely high quality French 19th century Louis XVI st. Belle Époque period Kingwood, Tulipwood, ormolu and Brèche Polychrome de St. Bernard marble cabinet vitrine si...

Sn5590 Fine quality and very attractive French vitrine in tulipwood, having original rouge marble top above 'chevron' inlaid frieze and a glazed door fitted with original working loc...

A very fine French, 19th century Louis XVI style ormolu-mounted mahogany and tulip wood commode with a brèche violette marble top, after the model by Jean-Henri Riesener (1734-1806)....

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 Striking Pair of Napoleon III Meubles d'Appui The Marquetry attributed to Joseph Cremer Constructed from tulipwood with inlay of various specimen woo...

A Truly Magnificent 19th century Secre´taire a` Abattant by Maison Rogie´ of Paris After the original in the Wallace Collection, London, made in 1777 by Pierre-Antoine Foullet Con...

Gervais Durand was an exceptional furniture maker of the later 19th century, known especially for his reproductions of 18th Century works, but also responsible for some strikingly or...

20th century Louis XIV style cabinet Cabinet in the style of Louis 14th. tulip wood on solid pinewood. The fittings are pronounced and of exceptionally ...

This is made-to-order traditional mahogany four door buffet or credenza made in the Leighton Hall shop. It features four doors with swirly crotch mahogany fields and satinwood and Sa...

A Fine French 19th-20th Century Louis XV Style Mahogany, Satinwood and Tulipwood Marquetry Gilt-Bronze Mounted Two-Door Buffet Server China Cabinet...

High-end bespoke bottle showcase, with a capability of more than 100 bottles. This tailor-made project by Modenese Luxury Interiors was precisely desig...

A Fine French 19th-20th century Louis XV style ormolu-mounted tulipwood vitrine with marble top, in the manner of François Linke (1855-1946). The slender single door cabinet fitted w...

A fine pair of French 19th century Louis XV style tulipwood and gilt bronze mounted two-Door Meuble D'Appui (Side-Cabinets) with a Brêche d'Alep marble top. The slender cabinets...

This magnificent 17th-century Italian Baroque commode from the Lombardi region showcases masterful craftsmanship and timeless elegance. The three-drawer chest stands on beautifully s...

This is a gorgeous and very sophisticated form of French dresser. When do you see them this wide? Almost never. This piece has a faux painted marble top and fine quality inlay and ha...

A Matched Pair of French Table Cabinets Both cabinets lined with silk, enclosing a glass shelf and mounted with gilt bronze, one constructed from bookmatched tulipwood and the other employing satinwood throughout, with acanthus leaf pointed feet, stylised scrolls to the sides, and a fall front glass door...

A sensational and most impressive pair of Italian 18th century Louis XVI st. Tulipwood and Kingwood commodes. Each highly detailed three drawer rectangular commode is raised on four ...

An exceptional pair of gilt bronze-mounted bas satin tulipwood and amaranth commode with serpentine fronted marble-top above a single frieze drawer and two long sans transverse. Each...

'TreeHouse' drinks cabinet is a striking sculptural design piece, made entirely by hand. The drinks bar resembling a tree house sits amidst almost 1 metre tall hand carved tree trunk that rests on a large plinth...

A handsome Italian Neo-Classical 18th-century walnut chest. The rectangular-shaped chest is raised by four straight tapered legs leading to the scalloped apron. Above is a door openi...

20th century Louis XV style French Kingwood commode after Francois Linke Parketterie tulipwood veneer on solid beechwood. Imposing Espagnoette style of Charles Cressent.

French pair of tulipwood bedside cabinets, having shaped gallery to the inlaid top above 3 flower inlaid drawers fitted with original brass handles and inlaid sides, all standing on cabriole legs with brass sabots. This pair of bedside cabinets...

Two Drawer Chest of Drawers. Modern design two drawer chest with simple lines, matching 'Stripey' Walnut Grained tops, Two finely Beaded drawers resting on slender tapering legs. Mad...

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...

A very fine Louis XVI period Commode, with intricate inlaid designs of exotic wood, and stamped inside one upper drawer "J MANSER" & "JME". French in origin, and dating from the thir...

An impressive and extremely elegant pair of Italian 18th century Louis XVI period Kingwood, Tulipwood, Bronze, and Gris St. Anne marble chests from Tuscany. Each three drawer chest i...

A fine French 19th-20th century kingwood and tulipwood marquetry and gilt-bronze mounted vitrine, in the manner of François Linke (1855-1946). The slender single door display cabinet with a red-velvet backing and bowed glass panels surmounted with acanthus and floral gilt-bronze mounts in the style of Léon Messagé (French, 1842-1901), the serpentine shaped front door with an ornate marquetry and ink colored panel depicting wreaths, ribbons and tied acantus leaves, all raised on four cabriolet legs ending with gilt-bronze paw-feet, Paris, circa 1900. Linke was born on 17 June 1855 in the small village of Pankraz, in what is now the Czech Republic. Records show that Linke served an apprenticeship with the master cabinet maker, Neumann, which he completed in 1877. Linke’s work book or Arbeits-Buch records that he was in Vienna from July 1872 to October 1873 at the time of the International Exhibition held there in 1873. He subsequently travelled to Prague, Budapest & Weimar before finally arriving in Paris in 1875. It is documented that he obtained employment with an unknown German cabinetmaker in Paris, and stylistic similarities, photographs and geographical proximity have led some to suggest that Emmanuel Zwiener was the most likely candidate. After a period back in his home town of Pankratz, he returned once and for all to Paris in 1877. In 1878 Paris hosted the third great International Exhibition, a remarkable success for a country ravaged by war only seven years earlier. It is known that the fledgling Linke workshops were active in the Faubourg St. Antoine as early as 1881, during this time he supplied furniture for other more established makers such as Jansen and Krieger. By 1889 another World’s Fair, as they were often referred to in America, took place in Paris. Monsieur Eiffel erected what has become the most iconic building in Paris for the exhibition and the atmosphere of wealth and confidence may well have encouraged Linke to think that he could contribute an important part to the next great exhibition. As early as 1892 this was decreed to take place at the end of the century, in an attempt to pre-empt Berlin from staging the last great show of the century. In 1892, Victor Champier (fr) one of the commissioners for the 1900 Paris Fair had appealed, “Create in the manner of the masters, do not copy what they have made”. It was an appeal against mere reproduction and Linke rose to this challenge in an unparalleled way with his unique display that was to include the Grand Bureau. Determined to outshine the competition at the Exhibition, Linke had set about creating the most ambitious pieces he could envisage, and more extravagant than had ever been displayed before. The items he exhibited marked a transition from the historicist interpretation of Louis XV and Louis XVI styles, an interpretation that was the mainstay of his nearest rivals, to something startlingly new and vital in its immediacy. [6] Together with Léon Messagé he developed a new style for the 1900 Exhibition that paid homage to the Louis XV rococo in the fluidity of its approach, but an approach fused with the lively flowing lines of the contemporary and progressive 'art nouveau'. The Art Journal reported in 1900 on Linke's stand: "The work of M. Linke ... was an example of what can be done by seeking inspiration amongst the classic examples of Louis XV and XVI without in any great sense copying these great works. M. Linke's work was original in the true sense of the word, and as such commended itself to the intelligent seeker after the really artistic things of the Exhibition. Wonderful talent was employed in producing the magnificent pieces of furniture displayed". Linke's stand would have appeared refreshingly new to contemporary onlookers, the traditional designs of the eighteenth century melting seamlessly into an exuberant naturalism. The 'Revue' described Linke's style as 'entièrement nouveaux' and noted "This opinion is universally accepted. Linke's stand is the biggest show in the history of art furniture in the year 1900". It is perhaps the most extraordinary and remarkable aspect of Linke’s personal history that he produced such expensive and luxurious furniture of exquisite quality for the 1900 exhibition without any commission or any potential buyer in mind. [9] At a time when other more established furniture businesses such as those of Beurdeley and Dasson were closing down, he made a huge investment in his stand and the furniture he supplied for it. Linke recognised that to move his business forward he needed to appeal to a more International clientele and the new emerging rich who were at this time amassing fortunes on an unprecedented scale. For this reason he gambled everything he had on his display for the 1900 exhibition. Had this not succeeded he would almost certainly have succumbed to bankruptcy. Linke’s notebook records visitors to his stand from England, Europe, the Americas, Egypt and Japan and including; the King of Sweden, three visits from the King of Belgium, Prince Radziwill, the Prince d’Arenberg, the Comte Alberic du Chastel, Miss Anna May Gould, the American heiress, distinguished furniture makers and the President of France Emile Loubet. This risky endeavour was a resounding success, and with his reputation established, La Maison Linke became the pre-eminent furniture house until outset of the Second World War. The technical brilliance of his work and the artistic change that it represented was never to be repeated. His showrooms expanded into prestigious premises in Paris, in the Place Vendôme as well as the Faubourg St. Antoine where his workshop had been established. He embarked on many important commissions in the years up to the outbreak of the First World War, making and designing furniture for leading international industrialists and bankers. After the 1914-1918 World War, Linke undertook the extraordinary commission to furnish the Ras al-Tin Palace in Alexandria for King Fuad of Egypt, possibly the largest single furniture commission ever conceived, eclipsing even Versailles. Linke flourished and remained active until the middle years of the 1930s and died in 1946 Léon Messagé (1842-1901) was a French sculptor, best known for his sculptural collaboration with François Linke for the 1900 Paris Exposition Universelle. Messagé was also responsible for much of the design and creative work for Roux et Brunet...

Early 19th Century Mahogany Sideboard. Late Regency to Early William IV Period. Beautiful neoclassical inlays of bellflowers an...

A superb quality English Victorian Sheraton Revival rosewood, parquetry inlaid and brass mounted bijouterie table dating to circa 1880. The circular hinged top with rosewood and sati...

A beautifully handcrafted small side cabinet table of tulip wood and mahogany with a tambour sliding middle door, lower cabinet and top single drawe...

A magnificently and high quality French 19th century Louis XVI st. Tulipwood, Kingwood and Brocatelle d'Espagne marble buffet, signed Krieger. This exceptional buffet is supported by...

This finely made pair of Encoignures or Corner cabinets are fully labeled with the maker's mark of Bedel & Cie, La Garde Meuble Public, 18 Rue St Au...

English 18th Century Spinet Case by Crang & Hancock London Converted Writing Desk This is a fine example of the English spinet in its most fully developed form. Rare ca. 1760 pentag...

With a thick serpentine breche de alep marble top over a conforming case with two conforming drawers with bronze handles raised on cabriole legs with sabot feet. From a Bellevue Avenue Newport Rhode Island estate.

Italian Neoclassic-style (19th Century) small walnut bedside commode with tulipwood and marquetry inlaid design on top, sides, and back, and two front-facing doors.

A very fine quality French Louis XVI style gilt bronze ormolu mounted matched kingwood display cabinet / vitrine by the luxurious Parisian furniture maker Maison Krieger (1826-1910) Exquisitely hand-crafted in France in the early 20th century, exceptionally executed in sophisticated King Louis 16th taste, having a dramatically veined marble top, over glazed glass front and side panels, opening to single glass shelf and mirrored back, over ribbed cabinet...

An Important Marquetry Cabinet on Stand In the Louis XIII Manner By Paul Sormani of Paris Constructed from ebony, inlaid with fruitwoods, and crossbanded with palmwood; supported on...

An Italian neoclassical fruit wood cabinet with marquetry inlay of urn with flowers and veneered marble top. All resting on fluted legs. William...

A most elegant and high quality French mid-19th century Louis XVI style tulipwood, kingwood and charmwood two drawer writing desk with two pull outs. The desk is raised by slender sq...

A fine French 19th century Regency transition style kingwood and tulipwood parquetry and ormolu-mounted two-drawer commode with marble top, Paris, circa 1890. Measures: Height 34 1/...

An impressive and high quality French 19th century Louis XV st. Tulipwood, Exotic Wood, Ormolu and Rouge Royale marble buffet. The buffet is raised by four cabriole legs with top scr...

A lot more than just a normal furnishing accessory, this bottle rack by Modenese Luxury Interiors features one drawer and four shelves capable of holding at least 30 bottles. White w...

A stunning Louis XV style gilt bronze mounted commode crafted in kingwood, tulipwood, and bois de bout marquetry from the late 19th century. This exquisite piece showcases the elegan...

This very fine formal transitional commode is of the period circa 1770 is crafted from oak secondary woods with tulipwood, kingwood and satinwood veneers. The break front form is enl...

We are delighted to offer for sale this exceptionally rare Alfred Beurdeley (1847-1919) Paris fully stamped Tulip and Kingwood with bronze mounts jewelry casket on stand This is one of the finest jewelry caskets I have ever seen, the quality is second to none, if you search works by Berurdeley you will see multiple pieces in the hundreds of thousands of pounds, these are some of the best and most collectable original handmade master craftsman pieces ever conceived. A Japanese lacquered cabinet of similar form made by Beurdeley which was larger sold in Sothebys in June last year for 216,125 Euros including fees The cabinet is made with bookmatched Tulip and Kingwood with gilt bronze mounts all-over, the leather top is the original which is nicely aged, there is also a functioning key which is needed to access the drop front Condition wise this piece has been cleaned waxed and polished, I have left the overall finish original however it can be fully restored to include a strip back and French polish should the new owners wish, this restoration would be completed at the new owners expense. On inspection I can see two panels which have timber shrinkage splits, there are some patina marks to the top and general patina marks Dimensions: Height 100.5cm Width 41.5cm Depth 31cm Please note all measurements are taken at the widest point Alfred Beurdeley, 1847-1919 Nationality: French Date of Birth: 1847 Place of Birth: Paris Place of Death: Paris Identity: Emmanuel-Alfred Beurdeley was a collector who came from a family of cabinetmakers, antique dealers and collectors. He was the illegitimate son of Louis-Auguste-Alfred Beurdeley (1808–82). His grandfather, Jean Beurdeley (1772–1853), who served in Napoleon's army, opened a small antique shop in the Marais district of Paris. In 1830 he bought the Pavillon de Hanovre, 28 Boulevard des Italiens, which became the Beurdeley firm's principal gallery until 1894. L.-A.-A. Beurdeley dealt in antiques and works of art and was also a cabinetmaker specializing in reproductions of seventeenth and eighteenth Century Furniture. His clients included Napoleon III and the Empress Eugénie. Life: In 1875 E.-A. Beurdeley took over his family's gallery and workshops and until 1894 concentrated on continuing the line of luxury furniture sold by his father. He was one of the most important Parisian cabinetmakers, and won a Gold Medal at the Exposition Universelle in Paris in 1878. He was appointed Chevalier de la Légion d'honneur in 1893 following the Universal Exhibition in Amsterdam. In 1895 he closed the Pavillon de Hanovre and retired to his hôtel in the Rue de Clichy. The rest of his life was spent acquiring and selling enormous collections of furniture, Chinese porcelain, paintings and drawings, including an extraordinary group of eighteenth century French drawings by François Boucher, Jean-Honoré Fragonard, Nicolas Lancret and Antoine Watteau in 1905. He also owned JW's La Dormeuse...

A pretty pair of 19th century Italian beside cabinets with excellent quality marble tops. Constructed in kingwood and tulipwood with a fabulous use of veneers. Each cabinet having tw...

A very fine pair of 19th century French Louis XV mahogany and gilt bronze mounted cabinets by G. Durand. Stamped in the wood . Original Breche De Alep marble tops. The interior zebra...

A lovely and most elegant French 19th century Louis XV st. Kingwood, Tulipwood, ormolu, and Gris des Ardennes marble cabinet. The two door cabinet is raised by cabriole legs with bea...

An important French mid-19th century Louis XV st. Tulipwood and Kingwood two drawer chest. The whole raised on impressive cabriole legs has two drawers with a quarter veneered Tulipw...

An unusual and rare early 19th century bow ended freestanding French marquetry marble top cabinet / stand made from tulip wood and inlaid with exotic woods, having the original white...

A very handsome Italian 18th century Louis XVI period walnut and tulipwood marquetry commode, in the manner of Maggiolini. The three drawer chest is raised on four square tapered leg...

This magnificent demi-lune Georgian sideboard displays the pinnacle of the era’s refined craftsmanship and boasts a distinguished provenance. Crafted of the finest mahogany, the era's timber of choice for well-appointed manor homes, the sideboard is inlaid with satinwood marquetry and crossbanded with tulipwood, one of the most coveted species of rosewood. Tulipwood is prized not only for its durability but also for its innate beauty. The sideboard features its original brass pull handles and knobs. Illustrating the caliber of its exquisite craftsmanship, this large demi-lune sideboard was once housed in one of the most illustrious grand manor homes of the era, Hackwood Park...