Asia - Vitrines

A 1950s Mahogany Vitrine Display Table on original Wheels and with Handles and faux bamboo Mahogany legs. Original green felt lining in place, includes a new black color felt, loose...

Bauhaus tubular steel low bookcase with case in chrome plated metal, lacquered blockboard and sliding glass panels.

1900s Art Deco Curio Display Vitrine Cabinet Exotic Wood No label Cariole legs, Curved demilune Glass, Exotic Walnut Rosewood New glass shelves retrofit...

Mid-Century Modern Asian style faux finished display cabinet / vitrine with pagoda style top and ebonized base featuring inside glass shelves with double brass pull door. The cabinet...

This is a truly authentic looking Baker Italian or Venetian paint decorated vitirne. The cabinet is a piece of artwork that cameos as a vitrine. The color, the vibrant painted theme ...

A stately and rare 1900s or earlier Damascus vitrine. This beautiful mother-of-pearl display cabinet has, glass sides , doors and shelves with two drawers.

Handsome pair of 19th century Italian wall vitrines. Each petite cabinet features beautiful marquetry, bronze ormolu, glass door and single shelf.

Solid brass neoclassical style etagere or vitrine on stand, the denticulated cornice over a reeded frame adorned with leaves. Fitted with glass shelve...

Very elegant goatskin cabinet by Aldo Tura, Milano, 1974. Interior fully equipped with brown mirrors.

Early 1900s lighted curio cabinet with glass doors.

Waring & Gillows attributed a good quality Arts & Crafts oak bookcase with flaring cornice, ebony and fruitwood inlay to the top and the centre, with glazed and leaded doors...

Stunning 19th century French Empire, neoclassical/Rococo Revival style Marquetry vitrine or display cabinet, of large proportions!! A real statement piece! Made of a fabulous variety of veneers, including kingwood, satinwood, tulipwood, harewood and walnut with quality classical ormolu mounts. It has ebonized pillars in the Empire style, with walnut and exotic hardwood friezes in the Rococo style. Double glass doors to middle section and single glass doors on either side. The glass on the doors are framed in ormolu banding. Floral Marquetry panels on front and parquetry on the sides. The front central section is a pullout / pull-out drawers with gorgeous walnut frieze panel and original carved walnut knobs. Scrolling pelmet on the top in 3 sections banded in ormolu beading. Scrolling base with cabriolet feet and ormolu mounts on base. Various ormolu mounts, floral mounts, mounts of Baachus and mounts of neoclassical female figures. In 3 sections. with 2 side cabinets and large central section with 3 section pelmet, stunning piece!!! The quality ormolu mounts are marked with the letter “R” and what appears to be “FR 678”. We were originally of the belief that this piece might have been made at the very end of the 19th century, but having regard to the quality of workmanship throughout this piece we are of the opinion that it was most likely made in the third quarter of the 19th century, circa 1870 and by an obviously top quality Parisienne maker with a surname beginning with “R”. It is definitely in the style of David Roentgen who was known for his Rococo/neoclassical styles. David Roentgen, (born Aug. 11, 1743-died Feb. 12, 1807, Wiesbaden, Duchy of Nassau), cabinetmaker to Queen Marie-Antoinette of France; under his direction the family workshop at Neuwied (near Cologne), founded by his father, Abraham Roentgen, became perhaps the most-successful firm of furniture production in the 18th century. After succeeding his father as head of the Neuwied workshop in 1772, Roentgen strove to broaden their clientele, an ambition that brought him first to Hamburg and ultimately to Paris (1774), where in 1779 he was spectacularly successful in selling his finest furniture to King Louis XVI of France for £3,300 to £4,000, an unprecedented sum for the time. Appointed cabinetmaker to the queen, Roentgen was granted admission (1780) as maître-ébéniste (master cabinetmaker) to the trade corporation of Paris cabinetmakers, making it possible for him to keep in Paris a stock of the furniture manufactured at Neuwied. Thus he was able to compete with such great cabinetmakers as Jean-Henri Riesener and Adam Weisweiler, reputedly his former pupil at Neuwied. After his first visit to St. Petersburg, Empress Catherine II the Great bought huge quantities of his furniture; King Frederick William II of Prussia was also his client. When in 1795 the French Revolutionary armies threatened to cross the Rhine, Roentgen evacuated his establishment and moved his stock farther inland. Unfortunately, he lost everything in his Parisian salon and in his Neuwied workshop, both of which were sacked by Republican troops. He was crushed, despite his appointment as court furnisher to the king of Prussia. Although he never succeeded in starting production again, former apprentices of his whom he helped to establish in the German cities of Berlin (David Hacker...