France - Cabinets

French side cabinets nightstand of 1970s. Massive oak and louis XV style. The pair match, but each bedside cabinet is different: one has three drawers, while the second has one drawe...

Bedside cabinets nightstand of 1970s made in France in the Spanish style. Chestnut wood and handle in wrought iron. The cabinet are closed by a wooden shutter held in the closed posi...

Cabinet Art Deco, French, circa 1930 Two drawers and three doors Height dimension of the buffet without the mirror: 39.37 in. (100 cm) walnut and brass Very nice flowers carved finis...

Pair of oak nightstands "Pyrénées" signed by Sébastien Lamarre. This french side cabinets were made by Sébastien Lamarre for Maison Marie Anne. To stay in a brutalist style he has m...

Stylish oak bobbin wood side cabinet from mid-century France C1950. Beautifully turned and carved, medium oak, three-tiered side table with a single drawer in the style of Charles Du...

French side cabinet Louis XV style nightstand Late 19th century Walnut bedside table One drawer and one trapdoor Hand-carved with vegetal and floral motifs. Good condition. Shipping...

Antique english escritoire secretaire cabinet, made circa 1920 Oak and leather The upper part of the cabinet opens to become the writing table ...

Pair of oak nightstands "Pyrénées" signed by Sébastien Lamarre. This french side cabinets were made by Sébastien Lamarre for Maison Marie Anne....

Italian hand-painted Venetian style cabinet, C1960 Beautiful Venetian style painted cabinet c1960s Italy. Simple neoclassical style, wonderfully complimented by the delicate figurati...

Buffet cocktail bar made from a sewing machine cabinet Walnut lacquered Marble has been inlaid at the sewing-machine level, giving it a quality design that's practical for placing gl...

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

This bedside cabinet cabinet with the traditional technique is chalet chic style thanks to its simple aesthetic and its bronze handle. This pair of oak nightstands of the "Pyrénées" ...

With its time-softened silhouette and storied patina, this French provincial buffet carries the imprint of centuries—an object whose presence conjures both vernacular memory and scul...

SIENNA Collection This bookcase is part of the contemporary collection SIENNA designed by Christophe Lecomte in Vendée. SIENNA is characterized by taut lines slightly softened by curved handles or drawers. The oak, a noble species from the French forests is, with SIENNA, highlighted with finishes using a trendy, slightly bleached natural color in contrast with matte black or a chestnut color in harmony with a more "charm" interior. For a practical and maximum access to the storage niche, the opening of the upper glass flap door is from down to up and the opening of the lower glass flap door is from up to down with a cable opening system. 1 adjustable wooden shelf is avaialble and adjustable between the 2 wooden swing...

This bookcase is made with 2 parts is made of French cherrywood and also available in oak. - The Upper part has 3 glass doors and 3 removable shelves on wooden racks. - The Lower ...

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.

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...

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

This 3 doors bookcase is a handmade reproduction of the French Directoire Style at the end of the 18th century. This period style is remarkable with its straight, classical and timel...

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...

With a tactile geometry and restrained rusticity, this Spanish cabinet evokes the poetic architecture of Iberian vernacular design. Its façade, framed in solid elm, is composed of re...

Antique Louis Philippe buffet escritoire secretaire cabinet, circa 1850-1860 Desk very convenient to store and close in a room with several func...

Antique Louis XV buffet cabinet, made circa 1770 Walnut and brass Good patina. Good antique condition Shipping: 136 x 159 x 58 cm 81 kg.

A sculptural procession of symmetry and relief, this elongated sideboard presents a masterclass in carved rhythm and architectural proportion. Executed in pale, matte-finished oak, i...

Cocktail bar cabinet, mid-century circa 1950. Two parts, one to store bottles and glasses. Marquetry nets on the shelves. French, iroko veneer and brass. Good condition. Shipp...

A harmony of ornament and volume, this oak buffet unfolds like a sculptural frieze—each surface a study in geometric tension and botanical exuberance. Flanking doors are crisply face...

French Armoire in Oak and Brass, Late 19th Century Rooted in the provincial elegance of the Belle Époque This tall oak armoire, dating from the end of the 19th century, embodies the...

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

Bar Arkane with solid oak wood and oak veneer. Bar with 2 doors, wooden back, 2 handles in solid brass in bronzed finish.

Bar Thomas with structure in solid mahogany wood, totally hand-crafted, hand-carved wood. Base in black satin solid wood. Inside in coral lacquered solid wood mahogany. With insid...

Bar Adria with structure in solid walnut wood with 2 parts, up and down with 2 curved doors each with iced glass details. Up part back covered with sol...

Safety Smart gold finish, lockable drawers, structure in solid mahogany, covered with polished brass dipped gold.

Sculpted in stoic relief yet softened by time, this oak sideboard by Gaston Poisson asserts a quiet monumentality. Its architectural presence is anchored by fluted cylindrical feet, ...

This 1-door and 3-drawer cabinet 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 each dr...

French Provincial Painted Oak Buffet, France, 19th Century Folk ornament and gentle patina — a poetic fragment of rural French life. This charming painted oak buffet captures the sp...

Pair of oak nightstands "Pyrénées". This french side cabinets were made by Sébastien Lamarre for Maison Marie Anne. To stay in a brutalist style he has made this natural finition. T...

Folk ornament and gentle patina — a poetic fragment of rural French life. This charming painted oak buffet captures the spirit of French provincial craftsmanship, where everyday fur...

A composition of stoic elegance, this French buffet reveals a language of sculptural restraint and architectural rhythm. Framed at either end by stacked pilasters in graduated relief...

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...

Cabinet Paradise Walnut with structure and doors in solid walnut root veneer in varnished finish and with solid brass in hammered and polished finishes. Inside in solid poplar root ...

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...

A quiet theatre unfolds across the façade of this monumental oak buffet—each door panel rendered in high-relief narrative, depicting scenes of village life with lyrical intensity. Wo...

This bedside cabinet cabinet with the traditional technique is brustalist chic style thanks to its simple aesthetic and its bronze handle. This pair of oak nightstands...

Cabinet with Stepped Paneling in Oak, France, 1940s A low, grounded form that exudes both presence and humility, this French oak cabinet is articulated with a rhythmic procession of ...

Spanish Brutalist Carved Oak Cabinet, Late 19th Century Revival Period "The soul of a building, like that of a man, is in its structure." — Luis Barragán A commanding expression of Spanish Brutalist craftsmanship, this late 19th-century Revival period cabinet is a testament to the region’s tradition of bold, sculptural woodworking. Hand-carved from solid oak, its imposing presence is softened by intricate geometric and folkloric reliefs, each chiseled motif narrating a story of heritage and artisanal mastery. The façade features four deeply paneled doors, framed by robust architectural lines and adorned with hand-wrought iron hardware, evoking the rugged elegance of Spanish monastery furniture...

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...

French chestnut sideboard buffet in the neogothic style. Turned legs gothic and geometrical motifs. One drawer and two doors, wrought iron handles and locksmith. Good antique conditi...

French Antique Horologist's Storage Cabinet An attractive Clockmaker's Storage Cabinet that is made in pine and finished in black ebonised paint. Full of character, this piece co...

Rare cabinet by french designer René Gabriel. Solid oakwood and oak veneer. The cabinet features 6 drawers on the lower part and 2 doors on the top part with functional keys and lo...

Designed passionately and exquisitely by the incomparable talents, the Cabinet was created to grace the most regal of dining rooms with its elegance and splendor. Inspired by the aristocratic palaces of the Alexandrian pashas of Egypt, the mother of pearl Cabinet...

A rhythmic play of shadow and surface animates this modest yet architectonic console cabinet, hewn from solid elm and raised on a stretchered base. The façade is articulated with dee...

Armoire dressing vintage style moderniste des années 60 70, en teck et noyer, sur plinthe, jolies poignées, 4 portes, beaucoup de rangements :...

Antique Art Déco shelf with little cabinet, drawers and mail box Swiss Alp style with a carved chalet on the door of the cabinet. Both aesthetic and pract...

Discover the allure of French craftsmanship with this charming and compact oak buffet from the 1940s. Despite its smaller size, this piece exudes timeless elegance and showcases the ...

Provincial Buffet in Stripped Oak, France, Late 19th Century Channeling the softened contours of provincial Louis XV ornament An ode to rustic refinement, this late 19th-century Fre...

French side cabinets nightstand of 1960s. Oak bedside tables with red marble top Nightstands of midcentury period. Good condition, with varnish refinihing. Shipping: L68 P5...

Signed " Meubles D’Art, M. Lerolle, Fabricant, 61, Rue des Sts-Peres. Paris " Remarkable carved wood cabinet, richly sculpted in the Neo-Renaissance style, and inlaid with vert de m...

This exceptional 17th-century single-door bonnetière hails from the Haute-Auvergne region of France and offers a rare opportunity to own a true piece of French heritage. Originally c...

On the left post of the lower body, is written the date 1596 in a cartouche This cabinet has two bodies. The upper part, set back, is moulded and carved. At the bottom, the cabine...

A façade of rhythmic geometry and tactile relief, this French sideboard from the 1960s asserts itself as both furniture and sculpture. Its carved ornamentation—hypnotic bullseye meda...