Cabinet in the manner of Lorenz Stöer. Augsburg or Tyrol, ca. 1575-1600.

Cabinet in the manner of LORENZ STOER (1537-1621). Augsburg or Tyrol, ca. 1575-1600.
Different types of wood, with marquetry.
Two doors, 7 drawers, central door with three secret drawers.
Similar models: - Rijksmuseum, Amsterdam (NL) inv.nr. BK-1955-80.
Provenance: - Private collection, USA.
Measurements: 32.5 x 42 x 28 cm (closed); 32.5 x 83 x 28 cm (open).

Due to the excellent quality of this piece of furniture, with its laborious marquetry work, it can be linked to the cabinetmakers' workshops of the aristocracy in southern Germany and Austria, such as Augsburg or Tyrol. It belongs to the early Baroque or late Renaissance period, and is close in style to models in the Rijksmuseum (inv.nr. BK-1955-80) and the Albert and Victoria Museum in London. In these examples, the marquetry themes were based on Lorenz Stöer's drawings and engravings of pastoral and wild animal themes. In the present piece of furniture, it is likely that Stöer's designs also served as a model for the marquetry of the interior sample: the seven drawers, the central niche with secrets, and the interior of the doors feature landscapes and wild animals such as hares and hunting dogs in Stöer's manner. On the doors, the landscape opening behind an arch also identifies Stöer's interest in the play of perspectives. The marquetry transfer of this engraver's drawings shows great technical mastery and high artistic value. The closed cabinet is also decorated with marquetry, in this case with birds framed by rectangular borders, the latter being a fillet and fretwork motif that is repeated on the sides and on the envelope.

Lorenz Stöer was a 16th century German painter and graphic artist. Along with Wenzel Jamnitzer and Johannes Lencker, he was one of the three Nuremberg masters who focused on perspective rendering. In 1567 he published "Geometria et Perspectiva", a collection of 11 woodcuts featuring mathematical objects in fantastic ruined landscapes.His designs also served as models for inlaid furniture, such as the aforementioned one in the Victoria and Albert Museum and a cabinet preserved in the Brooklyn Museum in New York.