Renaissance Case Pieces and Storage Cabinets

A large and impressive 17th century European cabinet. Made in two parts, both with elaborate carved decoration and burled panels and details. The upper cabinet with heavy overhanging...

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...

A Spanish Renaissance walnut spice cabinet from circa 1680 with abundant foliage carved décor. This captivating Spanish Renaissance walnut spice cabinet, dating to circa 1680, enchan...

This mid-18th century cabinet is a so called 'kussenkast' or pillow cabinet. The pillow refers to the shape of the raised panels in the doors. It is a ...

16th Century Italian Renaissance Painted Marble Lacquer Wooden Cabinet (1500s) An extraordinary Italian Renaissance wooden cabinet from the 1500s awaits the discerning collector. Thi...

Oakwood Original lock and key   This beautiful and robust chest stands on square feet ending in flattened buns. The base presents plain mouldings. The facade is divided in four panel...

17th-century chestnut console or buffet with exceptionally deep patina and centuries of wear reflecting its early origins. The piece features a high back with simple carved panels, a...

Italian Renaissance Walnut Cabinet, 17th century, two doors with locking mechanism flanked by carved columns on paw from feet, inscribed "MS 63" to interior door. 38" H x 29" W x 18...

RENAISSANCE CABINET in walnut molded with pyramidal frames. The front opens with four leaves and four drawers in the waistband. The cornice and drawer frames are adorned with carved ...

Exceptional lacquered and gilded wooden cabinet, Venice, last quarter of the 16th century. The architectural facade is centered on a gable supported by columns reminiscent of ancient...

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...

From a Norman manor house of the 16th century this very nice double trunk with four-door buffet decorated with inlaid hearts for the upper part and geometric motifs in the lower part...

Spanish Renaissance style (17th Century and Later) wrought iron mounted walnut vargueno on later stand with a fall front enclosing 3 long drawers.

Whereas many pieces of furniture during the Italian Renaissance were heavily painted or inlaid with decorative motifs, French examples utilized hand-sculpted elements as the predomin...

Large wedding chest in tinted and gilded walnut, the lid animated with a frieze of pearls, the sides with compartments, the belt decorated with gadroons. It rests on four claw feets.

Unlike their Italian counterparts who favored painted and inlaid motifs, French ebenistes during the Renaissance utilized elaborate carvings to embellish their furniture. A fantastic...

A spectacular and finely detailed late Renaissance credenza likely created in Florence. A plank top is supported by a series of three frieze drawers with open wrought iron grilles o...

Cabinet We present you a unique Renaissance Cabinet from the sixteenth century, Kabinet comes from Germany. It is made of oak. Cabinet is a box furniture, it consists of an upper c...

Rare pastiglia marriage chest North of Italy, Liguria or Piemonte First half of 15th century wood, gesso, partly gilded, form molded and painted 67 x 156 x 63 cm Provenance : Priva...

ORIGIN : ITALY, VENICE PERIOD : 16th CENTURY   Height: 103 cm Length: 174 cm Depth 45 cm   Walnut Usual restoration     The low sideboard with several doors became more common in the...

Baroque secretary from the 18th century, in very good condition.

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...

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...

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

Large Renaissance period oak chest decorated with cherub heads surmounting panels framed by columns. Very beautiful period furniture. French work late 16th-early 17th century.  

This late 18th century cabinet is a so called 'kussenkast' or pillow cabinet. The pillow refers to the shape of the raised panels in the doors. It is a typical Dutch Renaissance cabinet...

Italian Renaissance-style (17th Century) walnut drop front secretary cabinet with 2 doors at base and carved figural column sides

An old sideboard - chest of drawers with a top in the Renaissance style. Made in the late 18th century from walnut wood. A unique piece of furniture, richly decorated with carvings a...

Very beautiful Rrenaissance / Henry IV chest from the 17th century, transformed into a desk in the 19th century. Magnificent details are hand carved. The wood has a superb patina. Fo...

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...

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...

Cabinet We present you a unique Renaissance Cabinet from the XVII Kabinet comes from Germany. It is made of oak. Cabinet is a box furniture, it consists of an upper chest and a bas...

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...

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...

Italian Renaissance Tuscan (late 17th Century) walnut cabinet having 2 doors with a diamond design.

Code: FR45 Antique Tuscany heavy and massive sideboard in solid walnut. In two parts: the top with two doors and two internal shelves with spiral wal...

Collection Jean Thuile Around the mid-sixteenth century French furnishing evolves in its conception and ornamentation. The start of major archi...

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

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

18th Century Portuguese Dresser in vignette wood, Brazilian rosewood frames and satinwood inlays. With 3 drawers, 3 drawers and drying rack. Wavy and scalloped top, decorated with a...

Presenting an absolutely stunning 16th century carved Spanish oak writing desk and cabinet, with amazing provenance and historical and literary significance. This desk/cabinet was purchased by a wealthy Dallas family from a French antique auction held at the club room in the Stoneleigh court (hotel), Dallas on Wednesday the 2nd April 1930. (Now the meridian hotel). The auction was titled: “works of art and furnishings of the Chateau de Turique (Nancy) and the Conde-Rougemont home (Touraine). The cover of the catalog also has a seal of a coat of arms. The second page gives a brief description of the auction contents and states that " this exhibition will be presented by M. Fernand M. Adda of Paris France". The desk/cabinet was lot no: 565 and was described in the auction catalog as: "Carved Spanish writing desk and cabinet...... 16th century period....Upper section a cabinet with two doors which are paneled and display a fine carving. The interior is fitted with eight engraved drawers, and a writing tablet is disclosed in the lower portion. Sustained and central arcade of columns. From Fontana Rosa collection. Supported on four turned legs with bulbous feet." Fontana Rosa is a historic garden situated on the avenue Blasco Ibáñez in Menton, Alpes-Maritimes, on the French Riviera. The Spanish writer Vicente Blasco Ibanez (1869-1928) began to build it from 1922 on, and he set up home here with his second wife, Elena, and died there in 1928. Vicente Blasco Ibanez was a journalist, politician and best-selling Spanish novelist in various genres whose most widespread and lasting fame in the English-speaking world is from Hollywood films adapted from his works. The provenance is impeccable, it belonged to Ibanez and was part of his collection at Fontana Rosa when he died in 1928. The auction in which it was first sold in Dallas was in 1930, which makes perfect sense from a 'timeline' point of view. Ibanez is a very important literary figure. Having regard to the fact that this is a writing desk means that in all probability, Ibanez would have 'penned' some of his famous works at this very desk and using the surviving slope/shelf. Fontana Rosa is a historic garden situated on the Avenue Blasco Ibáñez in Menton, Alpes-Maritimes, on the French Riviera. The Spanish writer Vicente Blasco Ibáñez (1869-1928) began to build it from 1922 on, and he set up home here with his second wife, Elena, and died there in 1928. This garden with Spanish and Menton pottery is found in avenue Blasco Ibanez, near Garavan station, and was created a Historical Monument in 1990. It is also called “Le Jardin des Romanciers” (El Jardín de los Novelistas/The Garden of Novelists), and was frequented by celebrities such as Jean Cocteau. It was the place where Blasco Ibáñez wrote Mare Nostrum, a novel filmed later in 1926. The garden inspired by Andalusian and Arabian-Persian styles contains species such as Ficus macrophylla, Araucaria heterophylla , palm trees, banana trees or scented rosebushes. It is a tribute to Vicente’s favourite writers : Cervantes, Dickens, Shakespeare or Honoré de Balzac, whose busts can be found at the entrance and to whom he dedicated several fountains and rotundas. Its main buildings are a small elevated villa with polychromatic pottery which houses a library and a personal movie projector...

Mid-18th century Renaissance wardrobe cupboard in massive wood laquered faux wood; with columns and hand-carved capitals. Wardrobe restored leaving the signs of aging in precious la...

Superb and rare Renaissance period walnut buffet from the end of the 16th century representing the four seasons opening with four doors and two drawers on the front, The doors offer...

An ornately-carved walnut 17th century and later French cabinet on stand, the top with a pair of carved doors and paneled carved sides with co...

AN EXCEPTIONAL MUSEUM QUALITY, ITALIAN, RENAISANCE WALNUT CASSETTONE WITH A FITTED BUREAU IN THE UPPER PART & EXCEPTIONAL BAMBOCCI CARVING, LOMBARDY - This exceptionally rare, museum quality, piece of early furniture was conceived and crafted as an artwork of the finest quality of its time. Throughout time it has been a luxurious, statement piece which has protected it, and fortunately it has survived in virtually, original condition. - This magnificent cassettone exudes the character and quality of the finest, late-Renaissance furniture. Northern Italian Renaissance furniture often had the sides, legs or angles, 'a Bambocci', incorporating carved figures which were considered unique sculptures in their own right. - The putti on this cassettone are beautifully carved and of sculptural quality. Each angel has one arm raised to heaven, a poignant touch. - The lion’s paw feet are a classical feature and make a great statement. - This cassettone was conceived to have visual impact through the quality of the carving, as well as being very practical with the writing compartment fitted in the top part. - It has survived in very original condition with a few small repairs and losses, and the colour and patina are warm and lustrous. - This cassettone is illustrated Illustrated in C. Alberici, Il Mobile Lombardo, Milan, 1969, p. 45, one of the seminal works on Lombardy furniture, and has been in two renowned collections. The hinged top in two sections faced with a solid moulded edge. The front part has a fall front and opens to reveal a writing compartment. The fall front retains its original lock and is concealed with a false drawer which is above three drawers. All with moulded panels, escutcheons and retaining the original iron handles. The front ends have exceptional, bambocci, carved putti raising their arms to heaven above trailing foliage. Standing on magnificent lion's-head carved feet. The sides are panelled. Exceptional original colour and patina. Literature : Illustrated in C. Alberici, Il Mobile Lombardo, Milan, 1969, p. 45. A Gonzalez-Palacois, Il mobile in Liguria, Genova, 1996 illustrates related pieces Measures: Length 147 ½ cm. 58 in, height 104 cm. 41 in, depth 75 cm. 29½ in, Provenance: Coll. Private Azzate The Collection of Sandro and Lidia Orsi, Ca’ Mera, Varese. Regarded as one of the most beautiful homes in Lombardy, Ca’ Mera, the country house of Sandro and Lidia Orsi was filled with beautiful objects from many different epochs. A renowned antiquarian from Milan, over his lifetime Sandro and his wife Lidia revived the Renaissance and Baroque character of the house and instilled their own unique vision into the interiors, which culminated with the creation of a Kunst – or Wunderkammer. “I have never seen such an example of poetical taste”, Sir John Pope...

This cassone, remarkable for its sobriety, sits on two clawed lion’s feet and a moulded base. On the façade, there is one large, moulded frame, with two soberly carved medallions inside it. Each medallion has a painted coat of arms at the centre. The two coats of arms are different, suggesting that there was an alliance between two families through marriage. The thick lid has a fluted frieze at the front. On the sides, a wrought iron handle reminds us of the use of this piece, which was intended for storing the property of its owner and allowing them to travel between various residences. The square shaped handles highlight the earliness of this object in the century. The cassone is, along with the bed, a key piece of furniture of the Middle Ages and was still used in the Renaissance Period.

English Renaissance-style (18/19th Century) walnut hutch cabinet with 2 shelves under a carved pediment top with 2 drawers over 2 diamond carved doors on ...

Superb and rare Renaissance period bargueno in walnut and fruitwood marquetry from the late 16th century -Spain The bargueño, an emblematic piece of furniture from 16th and 17th cent...

MAGNIFICENT PORTUGUESE ORATORY 18th CENTURY Made of chestnut wood with carvings. Architectural design with carved, scalloped and openwork cornices, glazed door and sides. Signs of us...

An extraordinary Tuscan Renaissance period walnut credenza in superb original condition. Hand carved, warm rich original patina, having two drawers and a single interior shelf. Italy...

A Tuscan cupboard from the 3rd quarter of the 17th Century. Made from walnut, a staple of Tuscan culture. A sturdy and original piece built to last, by quality tuscan craftsmen, thro...

16th Century Italian Prie-dieu (Praying Kneeler) made of Italian walnut and burl wood.

With flat hinged top opening to a open compartment. The curved case carved with a crest and figures and various designs. Bracket feet with trefoil form apro...

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...

A dark walnut single-door cabinet, Italian 17th century Height: 110 cm Width: 115 cm Depth: 36.5 cm Provenance: Private Australian Collection acquired in 1950s.

Rare, small, late-Renaissance, Nuremberg, iron, 'armada box', strongbox or travelling safe with its original, naïve, painted decoration This is a rare, s...

An Italian Florentine Renaissance Carved Burl Walnut Fall-Front Writing Cabinet, Circa 1560, 16th century From the Davanzatti Palace Museum in Florence Height: 59 inches x 36 inches ...

French Late 16th Century Renaissance Walnut Deux-Corps Cabinet in two parts. The top part with two carved doors featuring classical figures, opening to an interior fitted with three ...

A 17th Century (possibly older at late 16th century) Italian walnut chest. This rare antique features three drawers, all with original period locks and hardware that speaks to its ri...

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...