MUSEUM-QUALITY FRUITWOOD RENAISSANCE CABINET.
Augsburg. Ca. 1570-1600.

Ebonised fruitwood. Exotic wood inlays. Base woods spruce and oak. Gilded bronze. The case can be viewed from all sides; is adjustable and is carved to resemble an antique temple. The front and back both have identical facades; which are structured by three pilasters. The spaces between these are dominated by niches with rounded archways containing four fire-gilded bronze statuettes standing on pillars. The identically worked sides are also structured by two pillars each. Two etched; fire-gilded bronze handles are located in the space between the columns.
The roof-element is divided into three sections; of which the middle section is particularly emphasised.
The hinged front section can be used as a surface to write upon and is decorated with fine; coloured inlays.
The inside of the cabinet also uses architectural motifs and is divided by columns. The central niche is flanked by two blind niches framed by pillars and aediculae. The central door is surrounded by seven small drawers.
Two small drawers are located in the cornice.
The base of the cabinet contains a large drawer which can be pulled out at the side. The central crowning element can be opened via a hinge and contains small drawers in each of the sides.
The locks and door hinges are etched with extremely fine Renaissance ornaments and are fire gilded. 52x49x36cm. Condition A/B.

Provenance:
German collection; purchased at Kunsthandel Albrecht Neuhaus; W黵zburg.

Literature:
Dieter Alfter. Die Geschichte des Augsburger Kabinettschrankes. Augsburg 1986. This piece is comparable to a coin cabinet from 1570 in fig. 26 and a cabinet from 1580 seen in figs. 27 and 28.
Lise Lotte M鰈ler. Der Wrangelschrank und die verwandten s黡deutschen Intarsienm鯾el des
16.Jahrhunderts. Berlin 1956. Compare with the niche-figure type in fig. 11 and the head-shaped handles in figs. 30-33 and 46-49.

The fact that the drawer-handles of the cabinet above display the same form as the man's head shaped handles in the so called "wrangelschrank" provides a relatively certain chronological placement of the piece in the time between 1570-1600; as well the local allocation to Augsburg.Art trade; Van Ham.