Renaissance Case Pieces and Storage Cabinets

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...

This nicely detailed walnut Italian cassone or chest is from the late 17th century approx. circa 1680 to 1700. Formally part of the collection of a Frick museum board member the piec...

On offer here is an Exquisite 17th Century Oak Two-Door Cabinet from the Carmelite Monastery in Bruges, Belgium. This antique piece, crafted in the Southern Netherlands around 1635, ...

A late-16th Century, Museum Quality, Italian Walnut & Fruitwood Marquetry Marriage Chest with a Coat of Arms & Retaining Traces of the Original Gilded Decoration - Exceptionally rar...

Elegant oratory or small sideboard in walnut from the beginning of the 17th century from italy Very beautiful piece of furniture from the Italian Renaissance composed of a door with...

TABLE COUNTER Mughal Influence, 17th century 17th century Lusíada, part of Mughal influence. In teak wood with inlaid ivories. With three drawers simulating four. Age defect...

Italian buffet in walnut and fruitwood from the 17th century opening with two doors and which has a drawer Very beautiful small model with a superb top with a nice patina and a be...

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...

Flemish Cabinet Antwerp 17th Century It has ten drawers underlined with guilloché moldings and adorned with small turned knobs. It is decorate...

Sideboard chest of drawers restored Renaissance Baroque around 1750 oak cabinet Features: Almost entirely solid oak Only base and rear wall solid softwood Two-door model with o...

PORTUGUESE ROSEWOOD CHEST WITH TWO DRAWERS 17th century Portuguese from the 17th century, in sicupira and rosewood, cut and pierced iron fittings. ...

Superb cabinet in solid walnut from the 17th century from Italy Very beautiful and rare Italian workmanship with a superb carved top as well as base. Typical of Italian wardrobes ...

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

Large Flemish display cabinet restored oak Renaissance Baroque Features: Two-door model with 3 shelves, glazed on three sides High quality Heavy quality Ebonized embellishment...

IMPORTANT PORTUGUESE COMMODE D. JOÃO V 18th Century in rosewood wood, with three drawers and three large drawers. Wavy body, with cut skirts, decorated wit...

A 19th-century walnut Italian credenza with intricate carving is a stunning piece, showcasing the craftsmanship of that era. The detailed figural carvings that flank the two pairs o...

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

Original chest in solid walnut referable to the late sixteenth century early seventeenth century with non-original hinges. Top and sides riquadrate and lower band bacellata, has leon...

16th Century Italian walnut credenza with cabinet space and drawers. Marquetry detailing on top. All original elements are very sturdy.

This piece is a brown oak French Renaissance sideboard that dates from the 1700s. It’s made from solid oak and the ornate designs have bee...

Small renaissance Oak chest. Front with profiled fillings. Handles made in cast iron. Original lock ( No key ). Charming chest in original untouched condition. Denmark 17th century.

superb Spanish walnut chest from the 17th century from the Spanish Renaissance with very beautiful irons The chest has its original wrought iron e...

XVI Century, Italian Renaissance wood chest. This important noble chest of the Tuscan Renaissance was built towards the end of the sixteenth centur...

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...

A rare Dutch Renaissance 17th-century Maternity room or Child's cabinet, in Dutch called 'Luiermandskast' circa 1650, possibly the circle of Herman Doomer...

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...

Antique 17th Century Dutch oak and ebony two-door Renaissance cabinet. This extraordinary cupboard is made of the finest quarter-sawn oak...

Unique cabinet that's probably made in France. Beautiful portrait of a man with a feather in his had, below that a panel with a scallop shell. Please take a good look at the photo...

A beautiful warm brown Renaissance chest or coffer that was made in 1669 in the Netherlands as it is dated of the front. The front has hand carved geometric ornaments and arched panels typical for the Renaissance style. The chest has its original forged lock...

Italian Renaissance wedding cassone Origin : Northern Italy, Between Milan And Bologne Period : 15th Century Height : 55 cm Width : 156.5 cm D...

Italian Renaissance sacristy cabinet / buffet in walnut early 17th century probably from Venice Superb and rare sacristy credenza composed of 10 drawers and two doors. T he large dra...

Very important Renaissance chest transformed into a two-door sideboard in the 19th century. Composed of numerous carved wooden details. This sideboard is richly decorated and testifi...

This elegant single-door cabinet was made in the Southern part of the Netherlands in the late 17th century. It was made in the best quality quarter-sawn oak in the tradition of the Dutch Renaissance during the “Dutch golden age”. The piece is of exceptional quality and was made completely in watered oak...

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...

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

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

Nuremberg chest or corsair chest from the 17th century from Germany Nuremberg Very elegant chest with a beautiful patina In his original state The l...

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

A wonderfully rustic early Italian hand carved cassone with egg and dart moulded frame, time-softened wood and solid panels on the front and sides. Although this chest has suffered 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...

This beautiful black colored Renaissance chest or coffer was made in the early 18th century. It was made in the finest quality summer oak and stained very dark, almost black. The fro...

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...

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...

This Italian walnut chest called « cassone » is shaped as an antic sarcophagus. The beautiful patina and the plain lid bring to the fore the facade richly ornated with vegetal motifs...

Important Italian Renaissance Polychrome chest with coat-of-arms Origin: Italy Period: early 16th century Height: 71cm Length: 190cm Depth: ...

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

This sideboard, with rich marquetry decoration, consists of two parts. The decorated upper body allows for the display of fine silverware. Superb carve...

Nice 17th century chest in brown chesnut. Hand carved facade panel with geometrics decorations. Plinth with brace decorations, dovetail assembly with wrought iron wardware. Add a re...

The lower part of the facade is adorned with a foliated and fruit garland. The facade’s central panel bears a low-relief decor framed by a rais-de-cœur frieze. The central scene a...

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

Very beautiful trunk from the Renaissance period, very nicely carved with palm leaves and acanthus leaves in an architectural setting. Four Ionic co...

Very Fine Northern Italian (Tuscan) Renaissance commode, the molded top over three drawers with arabesque carved fronts and applied molded edges, the sides carved with term figures a...