Renaissance Case Pieces and Storage Cabinets

An extraordinary Dutch wardrobe made in the late Renaissance period, 18th century. This substantial antique work of storage furniture is all hand-crafted of solid oak, some panels wi...

This richly carved wooden chest is a fine example of an Italian cassone from the 17th century. The cassone, also known as a bridal chest, was an essential piece of furniture in the h...

English Renaissance 17th Century Solid Oak Chest Trunk Spectacular period Renaissance oak chest, dating from the early 17th century. The antique piece features a front composed of p...

On offer here is an antique four-door cupboard, in Dutch, named “Kussenkast”, that was made in the Northern Netherlands in the late 17th century. This cupboard takes its name from th...

This beautiful and friendly-sized cupboard is made of the finest watered oak in the tradition of the Dutch Renaissance during the “Dutch golden age” It is a two-story four-door cabin...

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...

This is a blackened oak chest with paneled sides and richly carved geometric decoration across the front. The piece was crafted in Northern Europe—likely the Low Countries or the Wes...

This beautiful carved Renaissance front section was a part of a built in cabinet. The carvings are typical for Bretagne area in France and it can be ...

Monumental and important Renaissance Palladio dining room set all in solid hand-carved walnut from a Palladian Palace in Vicenza of a Venetian patrician family. The back of the showcase was rebuilt again at the end of the 800 first 900 with the application of damask fabric The table can be extended up to 4-6 meters The large sideboard and the display cabinet are in the process of conservative restoration and have therefore been disassembled, as seen from the last photos. Measures in cm: Sideboard H 240 x L 315 x D 70 Display cabinet H 240 x L 230 x D 60 Table H 78 L x 230 x D 140 Extendable to 4-6 meters Notes: The architectural design of Andrea Palladio...

This impressive Dutch Renaissance cabinet, known as a Gelderse kussenkast, was crafted around 1750 and stands firmly in the tradition of Dutch cabinetmaking. The piece is made entire...

This antique Dutch Renaissance cabinet was crafted in the southern Netherlands at the end of the 18th century, around 1780. It serves as a quintessential example of the furniture cra...

This antique oak chest from the 17th century is a fine example of the rich woodcarving traditions practiced in England and the Low Countries during that era. Built with a solid const...

This antique oak chest, dating from the early 17th century, is a remarkable example of early European craftsmanship, combining strength with refined decorative detail. Made entirely ...

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...

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...

Rare and early German Stollentruhe, dating from around 1620. This compact 17th-century oak chest combines historical significance with visual prese...

Antique Spanish Renaissance Figural Carved Oak Wood 2 Pc Religious Cupboard Cabinet. Item features solid wood two part construction, carving that reads "Anno 1654" to crest, carved f...

A RARE RENAISSANCE WALNUT CABINET WITH ITS FREESTANDING CARVED COLUMNS ORIGIN : FRANCE, BURGUNDY PERIOD : 16th CENTURY Height : 218 cm Length : 152 cm Depth : 67.5 cm Walnut Thi...

Crafted in Italy circa 1760, this rare walnut “studiolo” cabinet — also known as a Cabinet of Curiosities — represents the height of 18th century craftsmanship, inspired by the Renai...

This extraordinary cabinet is made of the finest oak in the tradition of the Dutch Renaissance during the “Dutch golden age” This cabinet is made in ...

An Italian Renaissance Style Walnut Studiolo Cabinet, 17th Century Description: A renaissance style studiolo of architectural form in walnut, the exterior entablature with risen gal...

A Rare and Important Renaissance "Judaica" Carved Oak Wood Cabinet, circa 1680 We are pleased to present a rare and important Renaissance Judaica c...

17th century Ebonized case with parcel gilt decoration, iron handles and hinges. Fitted interior with inset tortoiseshell panels surrounded by brass filigree inlaid ebonized wood drawer and door fronts. Faux painted architectural columns on either side of center door which opens to reveal an additional set of small drawers. A rare early cabinet...

An incredibly unique find on a hill top Villa in Turin, this cabinet has resided in the same home since its creation and hence is in remarkably good condition. The drawings and pain...

Belgium / 17th Century / Cabinet / oak / Renaissance A rare and stately example of Flemish Renaissance craftsmanship, this 17th-century oak cabinet from Belgium exudes architectura...

17th century French leather coffer, chest or trunk with nailhead detail from burgundy on newer wooden base.   

A Rare Ducal "Armada" Strongbox (Travelling Safe) wrought iron with original polychrome painted decoration, Nuremberg, late Renaissance, late 16th / early 17th century An exceptionally rare and highly original late-Renaissance Nuremberg iron...

A charming oratory or "Prie-Dieu" from the Italian Renaissance, made of walnut with a small drop-down panel, dating from the 17thcentury A small, unusual piece of furniture with a dr...

SWISS CHEST RICHLY CARVED WITH THE COAT OF ARMS OF THE RIEDMATTEN FAMILY FRAMED BY TWO HOLY CONVERSATIONS ORIGIN : SWITZERLAND, VALAIS CANTON PERIOD : END OF 16th CENTURY – EARLY 17...

This cabinet is composed of two bodies, the upper one being recessed. The extraordinary proportions are enriched by a mythological and floral carved decor. The Lower body stands o...

This extraordinary cupboard is made of the finest quarter sawn oak in the tradition of the Dutch Renaissance during the “Dutch golden age” It is a small two-door cabinet with arche...

This fantastic two-piece 17th-century oak cupboard was made in Antwerp, Flanders, circa 1680. It consists of two pieces, a lower and an upper cabinet. The lower cabinet can be used w...

With old finish. Rectangular top with molded edge over a frieze with mounted corbels and a false drawer over a pair of cabinet doors with original handles all flanked by mask and flo...

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

The lower part of the facade is adorned with a foliated and fruit garland. The facade’s central panel bears a low-relief decor framed by a rais-de-cœur frieze. The central scene a...

Beautiful Renaissance two-body buffet with four doors and six drawers. On the upper part of the buffet, who hide two secrets drawers, an alternating band of three masks, represents a mythological scene: Zeus changed into a swan seduces Leda on the banks of the Eurotas. The sides of the buffet are decorated with foliage and vines. The doors cornices...

This fine oak chest was crafted in England around 1700 and stands as a beautiful example of the solid yet stylish furniture of the period. The front is richly decorated with geometri...

Beautiful and rare Dutch Renaissance two-door cabinet. This cabinet stems from an era in Dutch history that is called "the golden age'. This cabinet has the typical arched panelled doors and is called a 'poortkast' or portal cabinet. It is made in the best quality solid oak. It stands on ebonized bun feet with an ajour cut skirt. The panelled doors have a hand-carved arched top. The top corniche has beautiful hand-carved elevated panels depicting cupids holding garlands. The whole cabinet is enriched with inlaid parts of ebony...

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...

XVI Century, Italian Renaissance wood chest. This important noble chest of the Tuscan Renaissance was built towards the end of the sixteenth centur...

Rare carved Renaissance cabinet Period : 2nd half 16th century, ca. 1570 Origin : France, Burgundy or Languedoc This cabinet embody the produ...

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

This German oak chest from the 17th century is a fine example of early modern craftsmanship, combining solidity with decorative refinement. The front is constructed with heavy, richl...

Italy / 17th century / chest of drawers / oak, bronze / Renaissance A distinguished 17th-century Italian Renaissance chest of drawers...

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...

PORTUGUESE WOODEN ARK 18th century in vintner wood and rosewood, with two padded drawers, geometric decoration. Gilded bronze hardware and locks. Small stains on top. Dim.: 65 x 10...

AN EXCEPTIONAL SPANISH COLONIAL VARGUEÑO OR BARGUEÑO, tortoiseshell, ebony, engraved ivory and Colonial hardwood, Spain, 16th / 17th century (cabinet) An exceptional and unusually r...

A rare and unusual antique Italian walnut table-top cabinet (now also wall hanging cupboard), 17th century and later elements, with handsome warm rich dark patina and interesting pro...

Italy / 16th Century / Cabinet / walnut / Renaissance / Antique Rare 16th Century Italian Renaissance cabinet in walnut with hand carved decorations of 3 heads and floral patterns f...

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...

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...

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...

Superb and rare large oak wardrobe from the 17th-century from the Spanish Renaissance. A very beautiful and impressive piece of furniture, rare due to its size. Superb ironwork with ...

A beautiful late 18th century cabinet in the best quality solid oak. This is a typical 'kussenkast' or pillow cabinet. Pillow refers to the shape of the...

This elegant single-door cabinet was made in the Southern part of the Netherlands in the late 17th century. It was made in the best quality quarter-sawn oak in the tradition of the Dutch Renaissance during the “Dutch golden age”. The piece is of exceptional quality and was made completely in watered oak...

Important two-part buffet cabinet in oak, dating from the late 16th century, notable for the quality of its construction and its richly carved high-relief decoration, characteristic ...

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...

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

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 ...

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...