Renaissance Case Pieces and Storage Cabinets

Important two-part buffet cabinet in oak, dating from the late 16th century, notable for the quality of its construction and its richly carved high-relief decoration, characteristic ...

This richly carved wooden chest is a fine example of an Italian cassone from the 17th century. The cassone, also known as a bridal chest, was an essential piece of furniture in the h...

This antique oak chest, dating from the early 17th century, is a remarkable example of early European craftsmanship, combining strength with refined decorative detail. Made entirely ...

Antique French Renaissance / Henry II style walnut buffet a deux corps / vaisselier / cupboard / cabinet / hutch featuring Neoclassical carved figural / acanthus / floral theme. The...

Rare and early German Stollentruhe, dating from around 1620. This compact 17th-century oak chest combines historical significance with visual prese...

This antique oak chest from the 17th century is a fine example of the rich woodcarving traditions practiced in England and the Low Countries during that era. Built with a solid const...

This late nineteenth century French Henri II style walnut enfilade or sideboard features four fluted half columns with scrolling capitals and a beveled walnut top. Three drawers of d...

On offer here is an antique four-door cupboard, in Dutch, named “Kussenkast”, that was made in the Northern Netherlands in the late 17th century. This cupboard takes its name from th...

This fine oak chest was crafted in England around 1700 and stands as a beautiful example of the solid yet stylish furniture of the period. The front is richly decorated with geometri...

Italian chest of drawers in walnut burl and Solid walnut, handcrafted in 1980 in the 17th-century Lombard style, with four wide, deep drawers defined by ebonized, projecting frames....

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...

On offer here is an exceptional Spanish Renaissance bargueño, crafted in the mid 19th century, from solid chestnut wood. This masterpiece, with its warm brown color, exudes timeless ...

This rare and rich decorated Renaissance dresser was made during the Dutch Golden age in the southern part of the Netherlands currently Belgium. It was made around 1670 and most likely in Antwerp. The dresser was made in the finest quality watered European oak and decorated geometric-shaped walnut veneer panels. The cabinet has two wide doors and two drawers above. The drawers are flanked by carved lion heads with brass rings. The right drawer is equipped with an authentic working lock and key. The doors are decorated with geometrical star-like walnut inlaid raised panels. The doors are flanked by large twisted Solomonic columns decorated with brass nails. The righthand door features its authentic lock and key with a brass ajour cut keyplate. The dresser has a wax finish with a great patina built up over 350 years. This piece of furniture was made by highly skilled craftsmen by the use of the best materials available. It is among the best furniture that was produced during the golden age and even now its craftsmanship is unprecedented. The dresser is highly original and in perfect shape for a piece of furniture over 350 years old. It was gently cleaned in our atelier and a new protective wax coat was applied. The Dutch golden age the 17th century was an important century for the Netherlands. The region separated from the Spanish Empire and formed its republic. Dutch merchants...

This beautiful carved Renaissance front section was a part of a built in cabinet. The carvings are typical for Bretagne area in France and it can be ...

A rare and unusual antique Italian walnut table-top cabinet (now also wall hanging cupboard), 17th century and later elements, with handsome warm rich dark patina and interesting pro...

Monumental and important Renaissance Palladio dining room set all in solid hand-carved walnut from a Palladian Palace in Vicenza of a Venetian patrician family. The back of the showcase was rebuilt again at the end of the 800 first 900 with the application of damask fabric The table can be extended up to 4-6 meters The large sideboard and the display cabinet are in the process of conservative restoration and have therefore been disassembled, as seen from the last photos. Measures in cm: Sideboard H 240 x L 315 x D 70 Display cabinet H 240 x L 230 x D 60 Table H 78 L x 230 x D 140 Extendable to 4-6 meters Notes: The architectural design of Andrea Palladio...

Elegant, monumental solid oak cabinet from the 19th century. Beautifully detailed and incredibly solid, crafted by a cabinetmaker. The doors feature a beautiful pattern of recessed p...

Grand Antique French Renaissance Walnut Bookcase will make a stunning statement in your favorite room! Hand-carved from fine walnut, it features a bold neoclassical architecture tha...

Valuable ancient noble 16th century, Italy Ligurian carved oak and chestnut credenza Bambocci, sideboard with display cabinet. All original with exception ...

A Vintage Henkel Harris Two Piece Breakfront brought to you by Niagara Furniture. This china closet is impressive in both it’s desig...

This Mahogany Secretary Desk from Niagara Furniture has all the outstanding qualities of an antique original. Made of select mahogany solids and maho...

A scarce nearly 400 year old fine quality Italian Lombard ebony rosewood bone and ivory tabletop curiosity cabinet with warm rich beautifully aged patina and interesting provenance. ...

Ideal for use either at work or in a home office the Niagara Furniture Mahogany Executive Desk with a tooled leather top is both beautiful and functional. Built in three sections for...

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...

Antique Henri II Carved Buffet, Cupboard, Stained Glass, Oak, 96.5"H Antique Cupboard Buffet Cabinet Oak 19th Century Beautifully Carved 5 door cabinet Spindle trim top Top has two s...

An elegant Mahogany Writing Table Green Leather by Niagara Furniture which is a perfect fit for use either at home or in the offic...

A Rare and Important Renaissance "Judaica" Carved Oak Wood Cabinet, circa 1680 We are pleased to present a rare and important Renaissance Judaica c...

RENAISSANCE CABINET in walnut molded with pyramidal frames. The front opens with four leaves and four drawers in the waistband. The cornice and drawer frames are adorned with carved ...

This Mahogany Two Door Bookcase from Niagara Furniture can be used to display your most valued collectables. This bookcase is a perfect size to fit i...

This petite sized Small Bookcase from Niagara Furniture features good vertical storage in a narrow space. The simple yet elegant design makes it useful...

Superb and rare Italian Renaissance chest from the end of the 16th century/beginning of the 17th century circa 1600 from Lombardy in walnut Very beautiful chest with a superb work o...

A superb piece of craftsmanship this high quality Country Estate Four Drawer File from Niagara Furniture is made with figured burled wood. The edge of the top is a lovely shaped soli...

An exceptional 19th-century carved walnut buffet, originally from a château in the Auxerre region, in good condition. It is flanked by two atlantes on either side and opens with two ...

ELEGANTLY Carved Antique French Honey Oak Cabinet with Double Doors and Drawer~~c. early 20th century Beautiful, canted corners and carved double doors with full length upp...

An exceptional 18th-century French Renaissance cabinet, sourced from the French Alps. Masterfully hand-crafted from solid oak, this two-piece ensemble showcases exquisite and elabora...

This is a blackened oak chest with paneled sides and richly carved geometric decoration across the front. The piece was crafted in Northern Europe—likely the Low Countries or the Wes...

Crafted in Italy circa 1760, this rare walnut “studiolo” cabinet — also known as a Cabinet of Curiosities — represents the height of 18th century craftsmanship, inspired by the Renai...

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

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...

Impressive antique 19th century Italian Renaissance style large sideboard. Made entirely of carved walnut wood. The carving work is spectacular made by a great master of wood. We ask...

A high quality piece of office furniture from Niagara Furniture our Country Estate Two Drawer File is made from the finest burls available. The top of the cabinet is covered in a ful...

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...

From Niagara Furniture a Vintage Councill Triple Dresser and Mirror in excellent, original, as found, condition. Simple yet sophisticated this beautiful Councill Mahogany Triple Dre...

Important molded and richly carved walnut sideboard with console-style upper supports formed by chimeras, a central faun motif. Five drawers. Beautiful ornamentation including grimac...

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...

Exceptional Genoese cabinet called stipo "a bambocci" from the Italian Renaissance in walnut from the end of the 16th century with its original base Museum quality piece Provenance:...

This impressive Dutch Renaissance cabinet, known as a Gelderse kussenkast, was crafted around 1750 and stands firmly in the tradition of Dutch cabinetmaking. The piece is made entire...

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...

A most useful and decorative item, the mahogany Sheraton Showcase is produced using select solid mahogany and clear, thick glass, allowing visibility into the cabinet from all sides as well as from the top. Great quality construction is visible in the hand carved details which distinguish this glass and wood display cabinet...

From a Norman manor house of the 16th century this very nice double trunk with four-door buffet decorated with inlaid hearts for the upper part and geometric motifs in the lower part...

An astounding French Renaissance walnut cabinet with superb detailed carvings. This piece is not only striking but its large. The top has a v...

From Niagara Furniture a vintage Henkel Harris Bachelors Chest of Drawers in very good condition. Simple yet sophisticated this beautiful...

A rare 18th century Italian walnut chest / credenza, Renaissance Period, neoclassical influenced, having two elaborately carved figural statue c...

A large 16th century Venetian cedar. wood Cassone is an exquisite example of the craftsmanship characteristic of the Italian Renaissance period, featuring beautifully detailed scenes dating to circa 1550-1580. Made from cedar wood, the chest has a deep, rich patina. Cedar wood was prized during the Renaissance for its durability and resistance to decay, making it an ideal choice for fine furniture intended to last for generations. In Renaissance Venice, cassoni were a standard part of a bride's dowry among the nobility and wealthy merchant classes. Venice was a thriving trade hub with a population of about 150,000 in the mid-16th century, and the upper classes commissioned these chests . The decoration of the chest is particularly breathtaking. Its surface features intricate figural panels that depict various scenes, which include historical, mythological, and symbolic representations. Among these are 16th century knights, chariots, mythical beasts, and lions. The designs are expertly silhouetted against a recessed ground, giving a three-dimensional quality that enhances their visual impact. The use of punch-work, a decorative technique involving the stamping of the wood with a mesh-like pattern, adds texture and depth to the surfaces. This technique is indicative of the meticulous attention to detail for which artisans in Italy were known during this period. Overall, this Venetian Cassone...

Italy / 16th Century / Cabinet / walnut / Renaissance / Antique Rare 16th Century Italian Renaissance cabinet in walnut with hand carved decorations of 3 heads and floral patterns f...

This German oak chest from the 17th century is a fine example of early modern craftsmanship, combining solidity with decorative refinement. The front is constructed with heavy, richl...

Cabinet We present you a unique Renaissance Cabinet from the XVII Kabinet comes from Germany. It is made of oak. Cabinet is a box furniture, it consists of an upper chest and a bas...

Display cabinet, France, circa 1870. Very good condition, after professional renovation. Wood: walnut dimensions: height 175 cm width 125 cm depth 48 cm

Italy / 17th century / chest of drawers / oak, bronze / Renaissance A distinguished 17th-century Italian Renaissance chest of drawers...

This extraordinary cabinet is made of the finest watered oak in the tradition of the Dutch Renaissance during the “Dutch golden age” It is a four-door cab...