Renaissance Case Pieces and Storage Cabinets

19th Century Spanish antique oak desk, writting table with two drawers. This elegant console was crafted in Spain, circa 1900, it featur...

19th century Spanish Renaissance buffet was sculpted from dense, old-growth oak with glorious full relief depictions. Set upon a brilliantly...

This late nineteenth century French Henri II vitrine is constructed of hand-carved walnut and features beveled glass on three sides. Hand carved acanthus leaves detail the sides and ...

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

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...

Superb 19th century Antique French Dark Oak “Hunt Cabinet”, Bookcase, Vitrine or Display Cabinet! Direct from France, and one of several exquisite glass door bookcase/cabinets from...

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...

Beautiful Renaissance wedding chest in chestnut from the late 16th or early 17th century. On the front of the chest are carved the coat of arms of the spouses' families: the one on the left represents a cross patté, the one on the right three towers of a castle. The base is cut into crosspieces with small sculpted patterns, the fittings are original with a hasp lock...

FAQ WITH ENGLISH FURNITURE London, 19th Century from 'Mappin & Webb Ltd.', Oak furniture with turned legs, with 2 drawers with cone cutlery for 12 people, comprising: (1st drawer)...

19th C. paint decorated blanket box or coffer. The front panel has a later added decoupage which has since been partially lost. This antique trunk, with its rectangular-shaped body, ...

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

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...

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...

A Gilt-Bronze Mounted Credence, Designed By Edouard Lievre, Attributed To Paul Sormani, In the neo-Renaissance style, the spreading pediment with Vitruvian scroll-fitted frieze, c...

Antique French carved oak renaissance cabinet bookcase court cupboard 19th c. ~Direct from France~ ~Unique hand carved designs on this lovely ...

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

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...

A grand Renaissance Revival coffer in the the style of 15th century Florence. The intricately carved and scribed lid with gadrooned edge displays a pomegranate motif originating from the Ottoman Empire and popular in Medieval and Renaissance Italy. The case of the piece is decorated with Composite order pilasters, and in between these columns are five richly colored leather panels commissioned from New Orleans artist...

Nice carved wooden chest from the Renaissance period, late 16th early 17th century. The lower part is decorated with a carved frieze composed of g...

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

Elegant but not too heavily carved, this oak cabinet showcases a dentil cornice, two top drawers flanked by lion mask carvings at the sides and between the doors, double doors flanke...

Antique French Renaissance Art Nouveau Mahogany Bowed Front Buffet Sideboard. Item features solid brass art nouveau drawer and door hardware, bo...

19th century French carved wine Cellarette cabinet black forest chest hog boar. Direct from France, a beautiful 19th century chest, heavily carved, most probably originally used as...

This solid oak carved chest was made in circa 1720 and originated in the Netherlands. It is made in Rebaissance style and it has the typical elevated panels in the front section. T...

Antique oversized French Renaissance carved walnut cupboard with exaggerated crest having acanthus and shell, surmounting triple door ...

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

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...

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

This dresser of the Murano Collection has a distinct Venetian inspiration. Structure and cantilever base made of wood with a cream-coloured shiny lacquered finish...

A stunning testament to the versatility of modern aesthetics combined with classical forms, this four-door sideboard will be a captivating statement piece in any interior. Designed b...

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 solid oak carved chest was made in the Netherlands during the Renaissance period. It was made in the finest quality oak and high quality carving. The carvings are deep and met...

Designed by Leo De Carlo for the Boulder collection, this contemporary sideboard is characterized by a finishing that resembles "caigo", that is the Venetian word for mist. Four-drawer sideboard with push and pull opening, MDF veneered plywood structure. Wood structure finished in antique brass varnish, 6 mm thick extra-clear acid-etched glass with polished edge finish and diamond grinding wheel...

A North Italian Renaissance cabinet in ebonized ivory inlay circa 1880.Made of ebonized wood with ivory inlay.Very good overall condition.S...

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...

An outstanding carved cabinet in the Renaissance style. The upper part consists in two stages with arcades, divided in six compartments by rich columns with Corinthian capitals, and topped by a carved entablature. The lower part opens with three doors, ornated with masks, hybrid figures and foliates, and relies on four strong feet. This cabinet, probably executed for an amateur or a collector, is a perfect model for the neo-Renaissance style, that rose in the 1830’s, in France with the designers Claude-Aimé Chenavard (1798-1838) and Michel Liénard (1810-1870). It came some years after the Gothic Revival, but met a longer success during the 19th century (at the Expositions des Produits de l’industrie in 1844 and 1849, and at the Universal Exhibitions in 1855, 1867 and 1878). Inspiration was found in the French Renaissance, more specifically in the art of Henri II’s reign, and cabinet-makers used dark carved...

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

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...

Antique French Renaissance Louis XV style marble top marquetry inlay serpentine buffet sideboard cabinet. Item features shaped rouge marble top, marquetry and floral inlay, serpentin...

Exceptional carving and quality make this piece a real prize. The wood and Construction are super. The finish is original in a rich dark walnut with a Medium luster. It has two doors that open to storage with one shelf. Two Drawers for flatware are under the buffet top...

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...

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...

Nice 19th century chest in brown chestnut. Hand carved facade panel with heads decorations. Plinth with brace decorations, dovetail assembly with wrought iron wardware. Add a real s...

Mid 19th century French carved oak renaissance style server / sideboard with front doors / front drawers and exterior hand carved design details. The sideboard / server is in great c...

Place this colorful antique coffer at the foot of a king size bed to store your extra blankets! Crafted in Italy, circa 1760, the rectangular cabinet sits on front paw feet over a bo...

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...

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...

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...

This is a fabulous quality, heavily carved solid oak court cupboard, made in England. The geometric moldings on the panels and doors are wonderfully carved. The quality and depth of ...

Provenance: Gismondi collection, before 1973. Historical Context This walnut wood and walnut burl cassetone is a remarkable example of Mannerist art applied to furniture in the late 16th century. While the Mannerist movement appeared and grew in Florence before acquiring its international stature it also spread to Northern Italy as soon as the late 16th century early 17th century. To the opposite of the rest of Italy where classic motifs are adopted very early, northern regions maintain the use of Renaissance motifs very late all through the 17th century. Sculpture now leaving the austere environment of churches and civil buildings appear in private homes where it graces state rooms and studies. This craze is particularly expressed on furniture from Liguria and particularly in Genoa where are produced highly carved furnitures with figures and spectacular decors called bambocci. This typically Genoese pieces express nonetheless a Florentine origin through Mannerism. Description This Genoese chest is framed by small figures skilfully carved from one wood chunk...

Substantial in size and beauty, this oak buffet is adorned with carvings from the hunt, scrolled foliage, flowers, and the fruit of the vine. It showcases a pierced crown of scrolled...

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

We are delighted to offer for sale this lovely Italian inlaid Rosewood with Boxwood accents Victorian circa 1880 small corner cupboard with origi...

Fransesco Molon began furniture design manufacturing in 1966. This lovely fruitwood example is detailed with acanthus leaves, paterae, and rope carved moldings in fine detail. Three ...

We are delighted to offer this absolutely stunning, very large, quad bank breakfront wardrobe with antique French paint that can be fully dismantled This piece is rather impressiv...

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

A Swiss bankers or rent table, in Elmwood with a superb slate inset into top. Underneath the top is a rather large drawer which slides both ways. This was used to slide money from ...