France - Case Pieces and Storage Cabinets

French mirror door miniature wardrobe 1900 in the bamboo style, It can be used has a bathroom cabinet. Oil painted. One door with a shelve inside and one drawer. Good condition. Shi...

A handsome 18th century French Provincial buffet, or sideboard, in mellow and beautifully aged walnut. Opening with a central frieze drawer and two large, lockable cupboard...

SPANISH CHEST WITH ARCADE DESIGN ORIGIN: SPAIN PERIOD: LATE 15TH – EARLY 16TH CENTURY DIMENSIONS: Height: 61 cm
 Length: 135 cm
 Depth: 48 cm Chestnut wood 
Good condition This H...

Etagère murale en pin vintage, dans le style Maison Regain des années 80, 9 casiers. 2 crochets métalliques pour la suspendre. Très bon état général. Ref 250 204 Hauteur : 76 cm Larg...

This minister's desk with 5-drawers is a craft-handed reproduction of the world-renowned French Directoire style, which dates back to the end of the 18th century. This range is char...

Elegant 19th-century French store counter in solid mahogany with its original marble top. This richly carved piece features detailed floral motifs and a central medallion adorned wit...

This Vitrine is a handmade reproduction of the French Directoire style at the end of the 18th century. This period is remarkable with its straight, classical and timeless lines. T...

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...

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...

Pair of sofa end tables in varnished Oregon pine, designed by Pierre Guariche for Hôtel Le France in La Plagne, circa 1965. These end tables feature the clean, minimalist lines chara...

Stunning Louis XVI style dressing table that embodies the elegance and timeless charm of Classic design. Featuring a large mirror, faux ...

Gorgeous sideboard 816 by Alain Richard for Meubles TV, made in France, 1960. This elegant sideboard revisits Art Deco codes through a modern, functionalist lens. Designed in the lat...

It features a large rectangular base opening onto 4 well-fitting doors which, when closed, present a geometric pattern of squares and concave circles. Handles are concealed in the up...

Magnificent donkey back desk, sloping desk from the Louis XV period from the 18th century. It opens with a flap which reveals 4 interior drawers, 1 shelf and 2 lockers as well as a s...

A rare carved walnut wardrobe opening with four door-leaves and two drawers in the lower part. The doors bear architectural views in low reliefs, fluted pilasters and Ionic capitals. Upper Body Two door-leaves with carved architectural perspectives open the wardrobe framed by three fluted pilasters with Ionic capitals. Each door-leaf depict two semi-circular arcades whose cornice and base shows a central vanishing point. Likewise the pavement’s lines act for the artisan as a way to create depth. The vaulting instead leads us to think the vanishing point has to be situated where the handle is, between the two complementaries reliefs. The elegant moulded belt hides an internal secret space, accessible through a moveable plank in the upper body. Lower Body Two door-leaves identical to those of the upper body framed by three fluted pilasters with Doric capitals. The base of the wardrobe opens with two large drawers. The sides also bear panels depicting architectural perspectives. The external pilasters share their Ionic capital with the facade’s pilasters. Thus we can observe on the wardrobe’s sides the capital’s lateral parts with the elegant volute specific to the Ionic order. This palace wardrobe is topped by an overlapping cornice standing on three consoles for the facade and two consoles on each sides. Placed right above the pilasters each console are adorned by fully expanded leaves. During the 15th century a major interest for architecture and perspective studies arises and influences patrons tastes. The work of great theorists such as Leon Battista Alberti...

Large solid oak chest from the 16th century Gothic period Very pretty French, Norman work. Decorated with Gothic motifs on 5 panels on the facade. Note reassembly in the 18th and 19...

A beautiful drop-front secretary desk in mahogany veneer, designed by René-Jean Caillette for Rosier SNA furniture, stamped on the back and dating from the 1950s. This piece exemplif...

Louis-Philippe Chest of Drawers in Burl Walnut, Original Saint-Anne Marble, Mid-19th Century This Louis-Philippe chest is more than a piece of furniture; it carries the soul of a bou...

An exquisite, early 19th century Louis XVI style two-drawer 'Commode Sauteuse', with a white marble top and gilt bronze fittings. This curiously named style of commode always feature...

Very rare anonymous bookshelf designed and made in Limoges, France, circa 1980. This bookshelves embodies the elegance, sophistication, and design ingenuity characteristic of French ...

Pretty XIXth century Chinese wardrobe in black lacquered wood decorated with court scenes, opening with two doors. The interior has a shelf with two drawers decorated with golden plant motifs, the handles of the drawers are decorated with burnt perfume vases.

This French nightstand bedside table was made circa 1910. This side cabinet has a white marble top. One drawer and one cabinet. Ar...

Antique French, Louis XVI style chest of drawers topped with a white Carrara marble in very good condition, fluted legs finished with golden bronze clogs. Dovetailed drawers with br...

This very nice and decorative small commode is made of lacquered and gilt wood with chinese scenes. This very elegant chest of drawers is wonderfully decorated with bronze handles an...

Bookcase library with solid walnut wood structure, with modular shelves and sides system according to furnishing needs. With 2 drawers module on the left side, with 2 doors modul...

JORGE ZALSZUPIN - COMPONIVEL BOOKCASE Jacaranda and cork for L'Atelier Moveis Brazil Circa 1959 H 150 x L 200 x D 40 cm Jorge Zalszupin, born in 1922 in Warsaw, Poland, became a lea...

This minister's desk with 5-drawers is a craft-handed reproduction of the world-renowned French Directoire style, which dates back to the end of the 18th century. This range is char...

Bookcase in carved wood in Henri II style or Renaissance style with inspirations from Greek and Roman architecture. A large drawer in the lower part, two mesh and molded doors, with ...

This beautiful freestanding desk, named working table, was designed by Bodil Kjaer in 1959. Produced by E. Pedersen & Søn in Denmark, this example was made in the mid-1960s, and feat...

Art Déco French buffet cerused oak, marble top and brass. The floral bas-reliefs are highlighted by the white ceruse. Made circa 1930 Two doors and three drawers. Completely redone finishes. Two traces of an old buffet...

Safe luxury watches forged in steel with 9 bi-directional steel bolts, secure electronic Sargent and Greenleaf keypads, wrapped in top grain cowhide lea...

Jewelry safe vintage golded distinguishes itself following a new hyperluxury trend. Special compartments for jewelry and precious liquors, watch winde...

This 2-door and 3-drawer low sideboard is designed by Eric Gizard - Paris. It is 100% made in France with solid ash wood, veneer and lacquered doors in MDF panels. Each door and e...

This English cocktail cabinet is particularly unusual and elegant. Made of magnificent honey color golden walnut, from 1920's ,I t features on its front, 1 fake cupboard, I fake drawer and 1 real double drawer. . Its top section pops up to reveal a full set of glasses and decanters . And when it closes down, it closes very softly by itself automatically thanks to its elaborate inside mechanism. It features a divided hinged top opening to a rising platform all fitted with a complete set of cut crystal glasses 4 cut crystal decanters. ... When it is open, there are 2 glass top inside its opening lid that you can use for service. Its bottom drawer opens in 2 times and is also fitted with matching glasses. It is a real surprise cabinet as from its exterior ,one can't imagine what is inside but when it opens, it is breathtaking with its rising platform full of different size cut crystal glasses... It is a top quality dry bar with solid brass hardware. This metamorphic cabinet...

Elegant French sideboard from the 1950s, crafted from bamboo, glass, and brass, in the distinctive rustic-modern style of Audoux-Minnet. The structure features three doors and side ...

Jette-Habits stamped by Jorj Rual. Impressive coat rack in wood and metal. Beautifully designed and executed. France, circa 1935.

Old edition of the B17b library in French Elm by Pierre Chapo, France 60'. Presented at the Salon des Arts Ménagers in 1967, this bookcase breaks the rules by placing the supports ab...

Bar Boeing 747 made with half of a Boeing 747 air intake, in shiny polished aluminium finish, riveted aluminium. With a round glass top and with one black ...

Trunk grand cru blue covered with black grained cowhide genuine leather. With lozines in smooth leather, jewelry parts in solid brass, with hand polished n...

Buffet deux corps French cabinet, circa 1830 Renaissance style, solid oak Nice patina Good antique condition Shipping: 2packs: Pack 1: P 64/L 149/H 94 cm 62 kg Pack 2: P 49/L 49/H...

Superbe et rare armoire dressing vintage des années 70 80, Maison Regain, en magnifique orme blond, très beau design. 3 portes, beaucoup de ra...

French coffer or chest assembled circa 1960 with panels made circa 1850. All All the walls of the trunk as well as the top are in carved oak and the bottom of the trunk is made of ...

Commode or chest of drawers in the English military campaign style. 19th century Good condition age with minor marks of use.

 This English cocktail cabinet is particularly unusual and elegant. Made of magnificent brown color walnut, from 1950's , it has all glass sides and glass top section.Its top section pops up to reveal a full set of 6 large Baccarat glasses, 6 small Baccarat...

This exceptional canteen table is very elegant as it features a beautiful serpentine front shape. It is all flamed walnut, in a very warm golden color. It is a 2 sections piece of fu...

17th Century Italian Tabernacle Altar Magnificent 17th-century Italian tabernacle altar in carved, painted, and gilded wood. This architectural devotional piece features a richly ad...

English mahogany display cabinet dating from the 1960s. The color of the wood is bright and warm. Its small size, its glass doors a...

Oratoire D.João V / D.José sur pied Bois sculpté, polychrome, marbré et doré Portes intérieures à panneaux peints représentant deux anges avec les instruments de la Passion du Chris...

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 dresser crafted from American black walnut is a stunning testament to George Nakashima's craftsmanship. Created upon the request of a private client in 1955, the angular shapes ...

Former workshop changing room for employees of the Compagnie Française de Raffinage, CFR, and more particularly for the Normandy refineries in France. Still has the Normandy refiner...

Solid elm sideboard produced by Maison Regain in the 1980s. The bright, warm color of the wood and its simple, clean lines give it a lot of character and elegance. We love its desig...

Chest of Drawers Lleno White marble with structure in solid walnut and with metal base in bronzed finish. With 4 drawers and an upper drawer divided in 3 storage. Whit white marble ...

3 doors sideboard in brass, tinted mirrors and sculpted wooden base. Creation by Studio Glustin. Italy, 2025.

A secretary desk from the 1950s, French craftsmanship. Solid elm wood with a beautiful patina. Height with the drop-down leaf open: 75 cm. Dimensions of the drop-down leaf: 45 cm ...

Éric Miomandre, by. Two-leaf wardrobe in blond beech veneer, rectangular in shape. Dimensions: H 195 x W 65 x D 39.5 cm French work realized in the 20th century. Reference: LS517...

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

Cabinet Linea with structure in solid walnut, with clear glass doors and clear glass shelves. With metal base in matt black finish. Intside drawer in solid walnut with rails in solid...

This English cocktail cabinet is particularly unusual and elegant. Made of honey color golden walnut, from 1910-1920's , it features 4 straight legs and storage compartment on each sides to store bottles and biscuits . Its top section pops up .It features a divided hinged top opening to a rising platform all fitted with complete set of beautiful cut crystal glasses ,a little removable wood tray as well as 3 cut crystal decanters. And inside its top, there is one tray by flap. And when it closes down, it closes very softly by itself automatically thanks to its elaborate inside mechanism. It is a real surprise cabinet as from its exterior ,one can't imagine what is inside but when it opens, it is breathtaking with its rising platform full of beautiful crystal glasses... This metamorphic cabinet...

This beautiful two doors cabinet is made of black and red lacquered wood presenting Chinese sceens and decorations in gold tones. This is a French work. Circa 1940