Renaissance Case Pieces and Storage Cabinets

An extraordinary Dutch wardrobe made in the late Renaissance period, 18th century. This substantial antique work of storage furniture is all hand-crafted of solid oak, some panels wi...

Wonderful carved oak blanket chest Lovely colour of oak Very useful size Great for the bottom of a bed Good condition Free Uk shipping

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...

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...

English Renaissance 17th Century Solid Oak Chest Trunk Spectacular period Renaissance oak chest, dating from the early 17th century. The antique piece features a front composed of p...

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....

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

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 beautiful and friendly-sized cupboard is made of the finest watered oak in the tradition of the Dutch Renaissance during the “Dutch golden age” It is a two-story four-door cabin...

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...

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...

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...

The Mahogany Secretary Desk from Niagara Furniture. This reproduction slant front writing desk has all the outstanding qualities of an antique origina...

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...

A beautiful late 18th century cabinet in the best quality solid oak. This is a typical 'kussenkast' or pillow cabinet. Pillow refers to the shape of the...

A Country Estate Revolving Bookcase from Niagara Furniture with full grain leather top with a shaped molding surround, over top three dovetailed drawers and numerous supported storag...

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...

This remarkable antique carved cabinet is a striking example of Renaissance Revival craftsmanship, showcasing exceptional hand-carved details an...

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...

The Oval Tray Top Mahogany Display Table from Niagara Furniture is an exercise in elegance. The sweeping mahogany legs are created by hand and support the table’s finely carved skirt...

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

An elegant Mahogany Writing Table Red Leather top by Niagara Furniture is a perfect fit for use either at home or in the office. Features include a three panel green genuine full gra...

An elegant Mahogany Writing Table by Niagara Furniture which is a perfect fit for use either at home or in the office. Features include a three panel brown genuine leather tooled top...

This restored nineteenth century Neo-Renaissance carved chestnut credenza is an extraordinary piece of European case furniture that features remarkably deep hand-carved high relief s...

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...

The Penhurst Mahogany Desk in the Niagara Furniture collection. This desk matches a number of other pieces which we produce, please see the links below for related products. The fant...

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 ...

One of the most complicated items that we produce at Niagara furniture our Burled Oval Partners Desk is also one of the most popular. The top section of the desk consists of a three-...

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

Gothic Renaissance Revival Carved Walnut Dragon Griffin Sideboard Buffet Cabinet. Item features two-part construction with ornate carvings throughout including dragons/griffins and f...

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...

17th century French leather coffer, chest or trunk with nailhead detail from burgundy on newer wooden base.   

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...

Charming pair of hand-painted small cupboards featuring octagonal forms and richly detailed figural panels. Each cabinet is decorated with painted standing figures rendered within ar...

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...

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

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 ...

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...

This extraordinary cabinet is made of the finest oak in the tradition of the Dutch Renaissance during the “Dutch golden age” This cabinet is made in ...

A gorgeous antique French Renaissance monumental sideboard hutch or bar cabinet In the manner of Alexander Roux France, Late 19th Century Ornate carved oak, with beveled mirror, a...

A RARE RENAISSANCE WALNUT CABINET WITH ITS FREESTANDING CARVED COLUMNS ORIGIN : FRANCE, BURGUNDY PERIOD : 16th CENTURY Height : 218 cm Length : 152 cm Depth : 67.5 cm Walnut Thi...

This antique Dutch Renaissance cabinet was crafted in the southern Netherlands at the end of the 18th century, around 1780. It serves as a quintessential example of the furniture cra...

19th Century French Renaissance Barley Twist Armoire was crafted by master artisans from solid, old-growth indigenous oak during the late Napoleon III Period, and features a heraldic...

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...

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...

Exceptional neo Renaissance bookcase forming desk. This monumental piece consists in a lower part forming drop-front desk supported by two pillars with drawers. The lateral parts each open with a moulded door. The bookcase occupies the upper part, opening by four windows...

This late nineteenth century French Henri II style walnut buffet deux corps features a hand carved cherub with wings at the crown. With solid paneled...

An exceptional Italian Neo-Renaissance carved walnut secretary commode, dating to circa 1880, features a monumental hand-carved facade with biblical reliefs. This rare Italian Neo-Renaissance carved walnut secretary commode represents the absolute pinnacle of late nineteenth-century Italian historicist cabinetmaking. To someone who has not seen this piece in person, it can be described as an architectural masterpiece that commands the room. It is a substantial three-door case piece that harmoniously combines a deep chest of drawers with an integrated drop-front writing desk. The entire front surface is covered in rich, multi-layered high-relief carvings, displaying incredible depth, dramatic texture, and a warm, lustrous original patina. What makes this Italian Neo-Renaissance carved walnut secretary commode truly special and worth its premium price is the museum-quality artistry of its execution. Every element is carved from solid walnut wood rather than being applied. The central drop-front panel features a breathtaking, highly detailed biblical scene depicting Jacob wrestling the Angel, framed by classical Corinthian columns. Above this scene, an intricate openwork pierced carving shows a classical urn overflowing with fruit, flanked by winged mythical chimeras. The piece is further elevated by classical Roman-style bust portraits, angelic putti, fierce satyr masks, and full-length corner stiles featuring caryatid figures. The entire structure stands securely on magnificent, heavily carved lion paw feet, symbolizing strength and nobility. For a potential buyer, several practical details are highly useful to know. This multi-functional piece offers exceptional utility, featuring three wide, deep drawers in the lower commode section, a fully fitted secretary interior with three additional small drawers, and two separate side compartments with sturdy wooden shelves for ample storage. The drawers and doors operate smoothly, and the piece retains its original, beautifully patinated brass handles and hanging pulls. Regarding installation and maintenance, this heavy, solid walnut cabinet should be placed on a level floor, and it is recommended to clean it solely by dusting with a soft, dry cloth and occasionally applying high-quality clear beeswax to preserve the historic finish. While the specific master cabinetmaker or workshop signature is not present, this item fits perfectly into the grand tradition of Northern Italian Renaissance Revival craftsmanship of the late nineteenth century. During this period, prominent workshops in Florence and Milan competed to create palatial furniture...

This fantastic two-piece 17th-century oak cupboard was made in Antwerp, Flanders, circa 1680. It consists of two pieces, a lower and an upper cabinet. The lower cabinet can be used w...

With old finish. Rectangular top with molded edge over a frieze with mounted corbels and a false drawer over a pair of cabinet doors with original handles all flanked by mask and flo...

19th century French carved oak cabinet vestry altar wine renaissance dining room. Direct from France, a beautiful 19th century carved cabinet, with a striking silhouette, in a versatile small size, perfect for use throughout today’s home! Clients love this size for a wine/liquor cabinet as well as for serving piece storage in a dining room or towels in a powder room. Excellent style, with carved moulding crown above three baluster columns across the cabinet front, and two recessed carved panel doors. Mid...

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...

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

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...

Belgium / 17th Century / Cabinet / oak / Renaissance A rare and stately example of Flemish Renaissance craftsmanship, this 17th-century oak cabinet from Belgium exudes architectura...

Tuscan 1940s big massive credenza classic style, Tuscan craftsmanship Renaissance all massive walnut wax-polished Measures cm: H 138, L 260, P 62.

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...

SWISS CHEST RICHLY CARVED WITH THE COAT OF ARMS OF THE RIEDMATTEN FAMILY FRAMED BY TWO HOLY CONVERSATIONS ORIGIN : SWITZERLAND, VALAIS CANTON PERIOD : END OF 16th CENTURY – EARLY 17...

An impressive dry bar / tv cabinet reclaimed from The Plaza Hotel of NYC in the 1990s. Drawing inspiration from French and Italian styling. A tall case made from mahogany with mirrored beveled hutch doors. This stately piece would have been used within one of the hotel suites. Features an ornately carved crown, chamfered stiles, applied foliate and cabriole legs. Opens via brass acorn hardware...