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Antique Ebony Cabinets - The UK's Largest Antiques Website

Traditional Kitchen Fireplace Design, Pictures, Remodel, Decor and Ideas - page 18 layout- plenty of counter/storage and open concept-I picture a dining room. Free Shipping on many items across the worlds largest range of Ebony Cabinets & Cupboards. Find the perfect Christmas gift ideas with eBay. Shop ebony cabinets and other ebony case pieces and storage cabinets from the world's best dealers at 1stdibs. Global shipping available.

A closer look at an Ebony cabinets cabinet Zoom Bibliography Glossary Credits. A closer look at an ebony cabinet Cabinet Circa Oak and poplar structure; ebonized fruitwood base; ebony veneer H. The cabinet is composed of two independent pieces: Although separate, they were designed to go together. The base is composed of five columns at the front and five pilasters at the rear.

The columns, decorated with vine and Ebony cabinets leaves, are set between two tablets. The ensemble is surmounted by a frieze with three drawers. The upper part, the cabinet proper, can be visually divided into three: In-the-round figures and in the middle there are two large bas-relief scenes framed by interlaced strap moldings and figures in quoins. Structurally, the central Ebony cabinets lower register are one single piece composed of two lockable doors, which still have their original lock and key.

The back of the cabinet is undecorated and unveneeredsince it was never intended to Ebony cabinets seen. This type of cabinet was meant to be placed against a wall. Except for the back, the cabinet is entirely veneered with ebony. It is this very hard and shiny black wood which gives it its austere appearance.

A sumptuously ornate interior. The pink columns and their entablatures stand out against the black drawers and small central doors, forming a kind of monumental columned portico on several stories. The presence Ebony cabinets columns here is relatively rare in this type of cabinet, and cabinet interiors usually have no colored Ebony cabinets. The cabinet has a total of twenty-three drawers. The upper level has three, although Ebony cabinets there appear to be six.

The drawer facades are all decorated with a scene showing children playing with sea monsters, framed by a molding. The ring for opening the drawer is fixed to the muzzle of a bronze horned beast. The two small doors in the middle, also with locks, open to reveal the most ornate and colorful part of the cabinet: Framed at the bottom by a drawer and at Ebony cabinets top by a balustrade in front of a mirror, the niche has a marquetried checkerboard perspective-effect floor and a painted ceiling depicting a figure of Charity.

On the sides, two mirrors set at an angle between tinted ivory columns accentuate the perspective effect. At the back there is an original feature consisting of galenite rocks inset with seashells, vegetation and small houses, and framing Ebony cabinets painting representing a view of a ruin.

Some cabinets, such as the one in the Rijksmuseum in Amsterdam, have in-the-round statuettes in the niche. Ebony cabinets are usually secret drawers on either side of the niche, but those in the Louvre cabinet were probably removed in the early 19th century. On the insides of the small doors, an arcade with a truncated pediment, marquetried in ebony and ivory tinted in several colors, visually prolongs the niche via its ivory frieze, tinted in the same way as the drawers framing the niche below.

Ebony cabinet First half of the 17th century H. The Louvre cabinet is unique in the diversity and quality of its materials. Traditionally it was Ebony cabinets the niche Ebony cabinets the widest variety of colors and materials were Ebony cabinets. The abundance of tinted ivory on the Louvre cabinet is matched only by the cabinet in the Metropolitan Museum in New York. It is used abundantly on the inner facade and in the niche, for the columns and plaques, and never left in its natural color.

The columns are tinted pink to imitate coral. This is one of the first uses of bronze in French furniture. The capitals and bases of the ivory columns are in gilt bronze, whose use became widespread from the second half of Ebony cabinets 17th century onwards. Apart from ivory, the decor includes ebony and bloodwood veneer at the front of the floor and sycamore veneer at the back, mirrors, and a solid amaranth balustrade which was probably added during the restoration by the painter Pierre Revoil, who sold the cabinet to the Louvre in Ebony cabinets galenite a lead mineral and mica rocks at the back are inset with real seashells and small houses painted on paper cut-outs.

Pictures, painted Ebony cabinets wood, complement the ensemble. Not all the black wood used for this cabinet is ebony. Parts of the base are in ebonized pear. Two-piece wardrobe made from parts of 17th-century cabinets H. Ebony cabinet Poplar and oak frame; ebony veneer; ivory and other woods H. Casket Ebony cabinets a stand Attributed to Pierre Gole c. An ebony "picture book". A hallmark of the Parisian ebony cabinets dating from this period is the numerous figurative scenes on various parts of the piece, transforming it into a veritable "ebony picture book".

Themes could be mythological, religious, historic or from contemporary illustrated novels. The imagery on the exterior of the Louvre cabinet is predominantly military. This may be linked to the personality and office of the person who commissioned it, but this is impossible to ascertain due to the lack of information regarding its first owners.

The scenes depicted on the large doors are episodes from late 6th-century Roman history recounted by Titus Livy. The left panel shows the Roman hero Horatius Cocles on horseback, defending Rome from the army of the Etruscan king Porsenna. In the right panel, three Romans, under his orders, are destroying the bridge over the Tiber to prevent the enemy Ebony cabinets from entering the city.

The two scenes are flanked by statuettes of antique gods linked to war: The sides Ebony cabinets the cabinet show two Roman emperors from the 1st century AD, portrayed in profile in the manner fashionable since the Renaissance: The predella is composed of four war-related scenes, and the side sections of the upper frieze are decorated Ebony cabinets prisoners and trophies. Only the foliation on the central parts of the frieze and facade of the base, a motif common on ebony cabinets dating from this period, has no military connotations.

The interior is less homogenous. On the left, Apollo is transforming Cyparissus into a cypress tree; and on the right, Apollo is shown with the Cumaean Sibyl. It was common practice for cabinetmakers at that time to copy scenes from engravings, often of mythological or religious subjects. The two scenes from the Metamorphoses were taken from engravings first published inby Antonio Tempestaan Italian painter and engraver who died in Some of the children astride the sea monsters Ebony cabinets copied from an engraving by Michel Dorigny.

This type of Ebony cabinets was recurrent in French art from the Renaissance onwards. Detail of the ebony cabinet First half of the 17th century H. Detail of the ebony cabinet Poplar and oak frame; ebony veneer; ivory and other woods H. The Fontaine des Innocents: The 17th-century ebony cabinet was the heir to a complex history that began in the Renaissance, during which the word "cabinet" denoted different things The cabinet has its origins in Ebony cabinets studiolo which appeared in Italy in the late 15th century.

The studiolo was a room, a place of retreat and study for princes and scholars. In her two successive residences in Mantua, Isabelle d'Este created a studiolo to display her antiquities and the copies Ebony cabinets antique bronzes she collected, and also mythological pictures painted specially for the studiolosuch as those by Mantegna.

Francesco I de Medici, Grand Duke of Tuscany, installed a studiolo studiolo in his chambers in the Palazzo Vecchio in Florence, covering its walls with paneling and paintings.

It could be a place for keeping and displaying precious objects, a room for reading and study for scholars and scientists, or a place of reflection and political decision-making for kings and Ebony cabinets. The discovery of new worlds during the Renaissance prompted an influx of exotic objects, plants and animals from these distant lands, but also a new interest in nature and the sciences.

The cabinet became a "cabinet of curiosities", a kind of private museum in which its owner would amass a variety of objects, ranging from artificialia objects created by man, ancient and modern to naturalia specimens of flora and faunaexotica exotic plants, animals and objectsand scientifica scientific instruments. Alongside the emergence of these rooms, there appeared a Ebony cabinets of furniture called the cabinet, then still modest in size.

It differed from other types of furniture in that it had numerous drawers, often concealed by doors or a drop-leaf front. It could be made of a variety of materials: Italy, Spain and the Germanic countries were then the chief Ebony cabinets of this type of piece.

The cabinet never acquired a fixed form since it was always defined by its specific use and the setting for which it was made. Cabinets could be locked and had secret drawers, usually in the cofferfor concealing valuable objects.

Portrait of Isabella d'Este Leonardo da Vinci Graphite, red chalk Ebony cabinets stump, ochre chalk, white highlights on the face, throat and hand. Ferrante Imperato's cabinet in Naples, late 16th century Wood-engraved frontispiece of Dell' historia naturale Milanese cabinet and stand Second half of the 16th century Iron, gold, silver, bronze, rosewood, ebonized hardwood H. The cabinet in the 17th century. In the 17th century, the cabinet became increasingly monumental.

As well as small portable cabinets, cabinets of considerable size began to be made, set on their own specially made stands. The ebony cabinet in the Louvre is an example of this trend: Its structure, with successive pairs of doors and numerous drawers, also illustrates the increasing complexity of these pieces of furniture and the richness of the interior niche is a telling example of the refinement of their decor.

The Louvre cabinet is a truly ceremonial piece of furniture and incontestably belongs to the most luxurious category of ebony cabinet. We know that princes and courtiers such as Richelieu and Mazarin owned several such pieces.

Other, less luxurious cabinets were made for the bourgeoisie. Instead of ebony, a rare and costly wood, part of the cabinet could be made in ebonized wood. The marquetry of the cabinet itself and the rest of its decoration were of Ebony cabinets elaborateness. The cabinet in the Geffrye Museum in London, which probably belonged to the English writer John Evelyn, is merely engraved on the outside, and Ebony cabinets coffer simply marquetried.

In the midth century, when the Louvre cabinet was made, Parisian joiners were not the sole producers of cabinets. There were also major workshops in Italy, the Netherlands and Germany.

A wide variety of materials were used, ranging from hardstones, ivory, ebony and other tropical woods to painted panels, fabrics and embroidery. Ebony cabinet made for John Evelyn inv. The birth of Parisian cabinetmaking. The Louvre ebony cabinet is an example of a particular type of cabinet Ebony cabinets in Paris in the first half of Ebony cabinets 17th century and which marked the birth of Parisian cabinetmaking in the broader sense of the word.

During the Renaissance, furniture was made by joiners, who worked in solid wood, mainly walnut and oak.

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