Herter Brothers

Richard Guy Wilson, et al., The American Renaissance 1876-1917, New York, 1979, p. 125 (for a related example in the collection of the Brooklyn Museum)
David A. Hanks and Donald C. Peirce, The Virginia Carroll Crawford Collection: American Decorative Arts 1825-1917, Atlanta, 1983, p. 54 (for a related model in the collection of The High Museum of Art)
Doreen Bolger Burke, et al., In Pursuit of Beauty: Americans and the Aesthetic Movement, New York, 1986, p. 169 (for a related model in the collection of The High Museum of Art)
Katherine S. Howe, et al., Herter Brothers: Furniture and Interiors for a Gilded Age, New York, 1994, pp. 121, 163, 179, 192, 219, 223 and 231 (for related examples)

Very good overall condition. The piece appears to retain its original finishes. Some scattered wear and rubbing losses to the ebonized surfaces notably at the edges, corners and areas of sculptural high relief. There is overall even surface soiling that would benefit from a sensitive cleaning. Three of the turned railings on the upper gallery were recently stabilized and re-attached to the cabinet by a professional furniture conservator, and minor losses at the opposing ends of these elements where they mount to the cabinet were partially re-built. There are traces of a partial ring mark on the central top area of the cabinet which is approximately 8 inches in diameter. The patinated metal lock plate on the proper right door is missing. The upper galleries have a few losses to the turnings and gaps where they join with the case. There is a one inch shrinkage crack to the lower frame just above the lower galleries to each side of the cabinet. The sculptural gilt bronze feet have some darkening and areas of oxidization that would benefit from cleaning. With one key that is slightly bent and appears to be original.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This cabinet is closely related to a group of Anglo-Japanese aesthetic cabinets that the Herter firm produced in the 1870s.  The present example is much akin to a side cabinet in the collection of the Brooklyn Museum.  Similarly the Brooklyn cabinet incorporates ebonized and incised gilt decoration, gilt metal galleries, elaborate marquetry, and painted panels.  However, the Brooklyn cabinet is neoclassical and restrained in tone relating very closely to a cabinet produced by the English firm Lamb of Manchester.  Herter often sought inspiration from other aesthetic movement designers, most notably the works of E. W. Godwin.

The decorative scheme of the present cabinet is one of pure exoticism in a stylized Chinese taste.  While Herter is known for lion carvings, the figural uprights on this cabinet read as dragons.  The façade has reserved carvings of grasshoppers, stylized clouds, and delicate blossoms.  These carvings as well as the gilt metal fretwork gallery are clearly Chinese in their inspiration although rendered in a Westernized interpretation.  This decorative approach is seen most closely on a vertical ebonized Herter cabinet in the collection of the High Museum of Art in Atlanta.  The High example is similarly imbued with exoticism while more elaborate in execution.  Like the present example the High cabinet has related figural uprights, carved foliate blossoms, and gilt incised C-brackets that extend beyond the sides of the case.  The High cabinet has a tall arched backboard with rosette decoration which clearly relates to the framed mirror panels of the present lot. 

While the history of this rare cabinet is as yet unknown, its idiosyncratic nature would lead one to suspect that it was created for a specific commission.