{"id":10588,"date":"2025-06-05T11:00:45","date_gmt":"2025-06-05T09:00:45","guid":{"rendered":"https:\/\/www.gabrielle-laroche.com\/product\/important-cabinet-richement-sculpte-de-la-renaissance-francaise\/"},"modified":"2025-06-05T16:29:38","modified_gmt":"2025-06-05T14:29:38","slug":"important-cabinet-richement-sculpte-de-la-renaissance-francaise","status":"publish","type":"product","link":"https:\/\/www.gabrielle-laroche.com\/en\/product\/important-cabinet-richement-sculpte-de-la-renaissance-francaise\/","title":{"rendered":"IMPORTANT AND RICHLY CARVED CABINET OF THE FRENCH RENAISSANCE"},"content":{"rendered":"

[vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]<\/p>\n

This two-part cabinet, crafted from carved walnut and set back slightly, is a jewel of ornamentation. The harmony of proportions and the rigor of the structure, reflecting the keen interest in a meticulous study of antique architecture, are matched only by the variety of its ornamentation and the exceptional delicacy of its compositions.<\/p>\n

The lower body<\/p>\n

The lower body rises on a molded base adorned with stylized shells. Scattered with three uprights adorned with strong-featured caryatids, it opens with two doors whose panels, assembled with mitered joints, are dovetailed into richly molded frames of bird feathers and acanthus leaves on the sides.<\/p>\n

On the left door, under a sky with billowy clouds, we find the personification of Summer with Mars. He wears a plume fitted to his headband, reminiscent of the Renaissance taste for depictions of Indians. He carries a basket of fruit on his shoulder and a sheaf of wheat in his hand. At his feet, we find his tools, namely a shovel and a sickle. The word ‘`Mars’ derives from the Etruscan god of agriculture, Maris. Mars is indeed also the god of agriculture, fertility, and vegetation.<\/p>\n

On the right door, we have the personification of Spring depicted as Venus accompanied by Cupid. Wrapped in a veil, she holds the arrow in her hand while the child plays with her garment.<\/p>\n

The doors are flanked by two male terms in draperies, sculpted in high relief, with grimacing faces and well-defined musculature, characteristic of Hugues Sambin’s Cabinets. In the center, a female figure with long hair, in bust, adorned with a necklace and a fibula, winged and wearing an eagle headdress, surmounts in a coiling of leather, a satyr mask.<\/p>\n

The richly decorated belt consists of two drawers crowned with a frieze of rounded leaves, from which garlands of fruits emerge, held by draperies, starting from a shell serving as a grip. The drawers are flanked by two satyrs with prominent horns and separated in the center by a female face wearing a gracefully tied veil and a pleated collar, contrasting with the other two with its fine and delicate features. The belt continues onto the sides of the cabinet with cartouches featuring feather and rosette motifs.<\/p>\n

Upper Body<\/p>\n

Seated on a molding with heart-shaped motifs, the upper part opens with two doors with carved panels. In the center of a cartouche adorned with two rosettes, a Burgundian cabbage with profusely flowering scrolls is affirmed, surmounted by a cherub’s head. Each door is crowned with molded friezes with convex and concave palmette motifs. The panels are flanked by pilasters with prominent fluting with a median braid, ending in egg-shaped capitals, continuing on the sides of the cabinet.<\/p>\n

The entablature rises to the cornice in a series of intricately worked molded friezes, ending in rows of hearts.<\/p>\n

The sides are not overlooked with long flat-carved frames of lyre scrolls surrounding a mirror, typically Lyonnaise in motif.<\/p>\n

This cabinet is a masterpiece in more than one way:<\/p>\n

Firstly, we can identify our piece as a Marriage Cabinet symbolizing the solidity of the couple with Mars and Venus facing each other, depicted in the lower part.<\/p>\n

Secondly, the exceptional quality of the sculpture, the harmony of the well-structured composition, as well as the presence of specific terms of Burgundian art from the second half of the 16th century, allow it to be considered as a piece “in the manner of Hugues Sambin,” where ornamental profusion leaves no room for emptiness.<\/p>\n

It should also be noted that the imagers were not directly inspired by Italy but by French or Flemish engravings that disseminated a masterful ornamental repertoire.<\/p>\n

Finally, the overall architectural composition of the piece, the Lyonnais scrolls, and the fine ornamental details argue for a commission to a Burgundian-Lyon workshop, where the vitality of the workshops owes much to Hugues Sambin and his school.<\/p>\n

Bibliography\u00a0:<\/p>\n

Jacqueline BOCCADOR, Le mobilier fran\u00e7ais du Moyen-\u00e2ge \u00e0 la Renaissance, Ed Monelle Ayot, Paris, 1988<\/p>\n

Jacques THIRION, Le mobilier du Moyen-\u00c2ge et de la Renaissance en France, Dijon, 1998.<\/p>\n

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IMPORTANT AND RICHLY CARVED CABINET OF THE FRENCH RENAISSANCE<\/strong><\/p>\n

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ORIGIN\u00a0:<\/strong> BURGUNDY-LYON<\/p>\n

PERIOD<\/strong> : 2nd HALF 16th CENTURY, AROUND 1560-1580<\/p>\n

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Height\u00a0: 190 cm<\/p>\n

Width\u00a0: 115 cm<\/p>\n

Depth\u00a0: 53 cm<\/p>\n

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Walnut wood<\/p>\n

Good state of preservation<\/p>\n

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 <\/p>\n[dt_button size=\"small\" style=\"default\" animation=\"none\" color_mode=\"default\" icon=\"\" icon_align=\"left\" color=\"\" link=\"mailto:gabrielle-laroche@wanadoo.fr?subject=109_CABINET_RENAISSANCE_RICHEMENT_SCULPTE_ANG\" target_blank=\"true\"]DEMANDE D’INFORMATIONS[\/dt_button]\n

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Retour aux meubles<\/a><\/p>\n","protected":false},"featured_media":10575,"template":"","meta":[],"product_brand":[],"product_cat":[34,79],"product_tag":[],"class_list":["post-10588","product","type-product","status-publish","has-post-thumbnail","product_cat-furnitures","product_cat-uncategorized-en","description-off","first","instock","shipping-taxable","product-type-simple"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t