This is a sophisticated example of mid-nineteenth century gothic revival work not only by virtue of the quality of the sculpture, but by its revival of a transitional moment between the high gothic and renaissance styles. Originally, dressoirs such as this were presentation cabinets sometimes seen depicted in the “great halls” of grand medieval homes. A modern day equivalent to this piece doesn’t quite exist as times, customs, and disposition and use of rooms has changed so entirely.

More-often, revival pieces are copies of either the high gothic or the renaissance style. This piece is a revival of the transitional first half of the 16th century when essentially gothic pieces began to feature renaissance ornamentation (in this case the figurative masks/faces). The choice of wood here, walnut, a renaissance period wood choice as opposed to medieval oak, also allows for the carving to be finer and for the grain and finish of this piece to be smoother. This walnut hints towards the maker’s intention to revive a niche moment of transition from the gothic period into the early renaissance (when medieval oak was phased out in favor of walnut).

Aside from stylistic discussions, the key with such revival pieces is to recognize outstanding, earlier 19th century examples such as this one (dating to ~1840-1850). The quality of the design here, loyalty to the original style, and overall refinement is far superior to the majority of revival works which were made from 1870 to the early 20th century.

Interestingly, the piece retains its five keys operating the open-worked wrought iron locks which dialogue with the open-worked high gothic style hinges.

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