18th Century and Earlier Case Pieces and Storage Cabinets

A fine example of a tiger maple and maple slant front desk with compartmentalized interior, including two hidden compartments with faux split co...

French 18th century large Louis XVI marquetry desk or bureau à Cylindre An exceptional marquetry secrétaire in the form of a bureau with a cylinder front and on a stand with four ...

This walnut buffet is a truly beautiful and one of a kind piece. The hand carved details are stunning and the finish of the stain gives this chest a dark and moody feel. There are 3 ...

This large, elegant antique "bonnetiere" (one-door armoire) would make a beautiful addition to any living room or bedroom! Crafted in the Perigord region of France circa 1750, the si...

A superb late 17th century Spanish tortoiseshell and ormolu mounted cabinet on stand. The central architectural door opens to reveal a mirrored theatre. The stand a 19th century one ...

Elegant Louis XVI cherrywood secrétaire cabinet.

French oak and elm commode, the elm top with beautiful grain and a nice faded patina; raised panel sides, the front corners are rounded and surrounded by a raised carved molding, the...

18th Century George II Chippendale Period two-door mahogany Glazed bookcase, circa 1750 The concave cornice sits above a pair of glazed doors. The antique glass is divided by moul...

A Swedish Gustavian period wooden sideboard from the late 18th century with original paint and distressed patina. Created in Sweden during the Gustavian era, this sideboard features ...

Circa 1770 grand country French buffet à deux corps from Normandy. Rare galbée form, the interiors shelves also conforming to the shape. Rococo. Basket flower, tendrils, bunches of g...

18th century American pine decorated blanket chest, probably from New England, circa 1770 having a dovetailed case on wide bracket feet, the li...

Display your fine Quimper or China collection in this museum quality antique display cabinet. Crafted in Normandy circa 1760, the exceptional buffet...

Italian Louis XVI chest of drawers from Lombardy, 1780-1790. Three drawers. Original thick mirror-cut walnut veneer with marquetry work on top, sides and and front with stylized f...

1770's Swedish rococo Bureau chest. Serpentine front chest with drop front secretary. interior fitted in drawers and a 1 door cabinet. Hand scraped to th...

An antique Venetian rococo japanned (or 'lacquer') cabinet. This rare and sophisticated antique cabinet separates in two, with bombé and serpentine profiles. The particularly fine ...

A very handsome Baroque-style cabinet was made in Germany at the end of the 18th century. It has a detachable base with a drawer over bun feet. Above sits a compartment with two paneled doors flanked by barely twisted...

Mid-18th Century French Louis XV Walnut Commode with 2 drawers, Cabriole Legs, & Hoof Feet.

The rectangular top with molded edge, over two short and two long drawers lined with 18th century blue tissue paper, and mounted with brass pulls; raised on bracket form feet.

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

A fine, and rare, very closely-matched pair of late-17th century oyster walnut chests on stands. English, Charles II period, ca 1685. Both with f...

A fine 18th century French Louis XVI period commode de port handcrafted of Cuban mahogany by skilled artisans from the Bordeaux region of France, circa 1770s, having a moulded cookie...

With square top with gallery with hand holds over a drawer and pair of doors and lower drawer, raised on square legs. Bellevue Ave Newport estate.

Pair of big corner cabinets with rudentate pillars that end with pyramidal truncated feet and with a two-panels door. Their have ivory and blue lacquered frames on the panels while t...

Elegant pair of 18th century Louis XVI period fruitwood commodes. Each two-drawer commode is raised by tapered legs. Above are two drawers with oval ormolu pulls and flower decoratio...

Italian baroque chests of drawers in wood and metal, 1730-1740s Finely worked sideboard in light and dark wood. The sides and the front, where th...

Fantastic and Rare display cabinet double dome Of English provenance, made of oak wood and walnut burl. Original hardware. No replacement work in either front or back. Cabinet in ex...

Late 17th century Dutch Coffer in Oak A 17th-century Dutch oak coffer with black painted panels, presented in a Baroque style. Dimension: H 69.5 x ...

Exceptional Italian Renaissance « Cassone » Origine : Italy, Florence or Siena Period : Late 15th Century Measures: Height: 63 cm Length: 1...

Rare Italian Louis XV chest of drawers in walnut, walnut briar and centrally moved fillets with high leg measuring 90 x 116 x 58 cm. This beautiful chest of drawers with 3 drawers...

Early 18th century chest on stand from England made from oak. It has pegged construction throughout and features raised paneled sides and t...

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...

Place this elegant antique coffer at the foot of a king size bed. Crafted in Italy, circa 1680, the rectangular trunk stands on bracket feet. Heavily carved on all three sides with a...

George I cabinet with elevation English, in mahogany and partridge's eye 18th Century. Top with two interior doors with drawers, door and bins. Bottom with two drawers and two bi...

17th century canted oak livery cupboard, with plain cup & cover supports with ionic capitals.

Extremely rare 18th Century Italian Louis XV style six drawer jewelry chest enveloped with velvet, encrusted with hand made pink Capodimonte porcelain and bronze ormolu.

Medicine Chest in original black lacquer. Shanxi province, China. Dating back from the late 18th Century.

A fine 18th century Louis XV period commode from the town of Nîmes in Provence. Made of solid walnut with serpentine front and ra...

An exceptional and most handsome Italian 18th century Venetian st. Walnut buffet credenza. The four door credenza is raised by elegant scrolled tapered legs with fine foliate feet below the beautiful double mottled serpentine shaped frieze. The doors each display a wonderful very decorative bombee shape and are decorated with bronze keyhole...

Antique English oak trunk, 18th century. With a rectangular overhanging top, the front with a carved horizontal member with the initials GE over 4 stiles the inner stiles with carvin...

An English Georgian mahogany secretary in three parts. The base opens to a hinged desk revealing a long shallow drawer above 2 short drawers on each side of...

A fine proportion mahogany rectangular partners desk with brown leather top with a crossbanded border with delicate carving, surmounting a frieze with two fitted and cockbeaded document drawers...

The carcass (probably 18th century), the fancy veneers probably same. The top cross and feather banded. Warm color and excellent patina. Photos taken in different light, full shade a...

Sloping desk / sloping secretary / back donkey secretary from the Louis XV, Louis XVI transition period. Very high quality 18th century work. The subtly arched feet typical of the Lo...

With rectangular caddy top over a brushing slide and four graduated drawers and raised on bracket feet. Prior Sotheby's NY sale. Oak secondary and brass handles.

A William and Mary walnut floral marquetry chest, circa 1690. The rectangular ogee moulded top with a central banded oval inlaid with spring ...

A stunning and extremely decorative pair of Italian 18th century Baroque st. Walnut, burl Walnut, and bronze commodes. Each three drawer chest is raised by unique and most elegant scrolled tapered legs with fine mottled feet. The bombee serpentine shaped front displays beautiful veneered Walnut panels with impressive foliate bronze pulls with the top drawer displaying a fine keyhole escutcheon...

A scarce French Provincial Louis XV (1715-1774) / Louis XVI (1774-1792) Period mixed wood religious oratory (prie-dieu / altar) Hand-crafted in France in the 18th century, with later 19th century elements, likely originating in the south of France / Mediterranean region, featuring pegged solid wooden construction of warm, rich fruitwood, chesnut, oak, and maple. Having a slant-front bureau with tall raised back decorated with three Renaissance Revival style high relief panels, the center depicting religious scene comprising Jesus and winged Saint, the side panels with foliate floral fruit pendant carvings, flanked by classical turned baluster-form columns, surmounted with highly stylized hand carved and turned finials. Over a slant-front with star parquetry, the hinged drop-front opens to reveal a distressed leather writing desk / lectern / pulpit on which the holy books can be laid open and allows to shelter the books, which were considered precious goods at that time. The lower sacristy cabinet has a pair of slide-out supports flanking a paneled cupboard door decorated with a large stepped base Christian cross parquetry inlay, affixed with later decorative forged iron faux escutcheon overtop. The door opening with key to a single fixed shelf on which holy items...

This charming hand painted Swedish corner cupboard still maintains its original paint, with deep dark green panels and a traditional background in earth-toned colors with reddish bas...

An antique Louis XV Provincial style server cabinet, the rectangular case fitted with one short drawer centered by two long drawers over double cabinet doors having recessed panels, ...

An attractive antique late 18th century, George III period bleached oak with ebony inlay two stage English country house bureau cupboard or bookcase. Circa 1790. Having a moulded cornice with inlay, above two fielded and inlaid panelled doors, opening to reveal a white painted interior with adjustable shelves inside, the inlaid bureau fall opening to reveal a lovely fitted interior with various drawers, compartments and leather surface, with a straight apron running along the top, with two short oak lined drawers and three long oak lined graduated drawers below, with brass plate handles, standing on splayed bracket feet. Great quality. A good piece of Georgian antique furniture. Complete with working locks and key. The dimensions are: Height: 203cm (79.9in) Width: 112cm (44.1in) Depth: 51cm (20.1in) The antique oak bureau bookcase...

This magnificent three-drawer bombe commode dates to the mid-18th century and exemplifies the Swedish Rococo furniture style. The commode has a pleasing curvilinear shape, a sinuous line drawn by the high knees, flared legs, and outward swell of its three drawers. The serpentine shape is characteristic of Swedish Rococo commodes, as is the distinctive parquetry veneer and thin gilt handles. Each of the three wide drawers is decorated with parquetry borders...

French early 18th century cabinet 'deux-corps".

A fine example made with the best quality timber beautifully constructed with drawers that function perfectly. Serpentine top and conforming case with four graduated drawers with ori...

18th century Welsh potboard dresser of mixed oak, ash and painted pine with a pot board base. It features three central drawers with brass handl...

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

A Louis XVI commode period piece from the18th century. The marble top has been painted in light celadon green. Wear consistent with age and use.

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...

Late 18th century oak blanket chest from England. The chest has a quadruple paneled top with molded edges, which lifts to an open interior. The four front panels are hand carved with...