An Italian pietre dure, gilt-bronze-and gilt-copper-mounted mother of pearl inlaid ebony and ebonised cabinet, Florentine, Grand Ducal Workshop second half 17th century

the drawer with a mosaic lunette painted in agate in the background of a stylised mother of pearl scallopshell flanked by two gilt-bronze twigs with two cherries carved in red jasper, above a fall-front opening to reveal a pull-out section with three drawers revealing two secret drawers on either side, one with the inscription: repariert 1929 P.J. Euttner, Berlin; Neukoln...28, with a drawer above and below, with two plaques of Sicilian flowering jasper flanked by four drawers, the top right drawer concealing a further secret drawer, on later feet

In very good conserved condition. A very rare cabinet the type of which rarely come on the market and examples of which are in museum collections. Colour slightly darker overall with great contrast between the coloured stones and the gilding is more golden and less greenish and much more attractive than in the catalogue illustration. Very attractive detail to the pietre dure panels which are in very good order and have a good choice of stones. One of the red jasper cherries is a later addition with evidence of regluing. On the leaf of the cherries on the left side, two small nails have been added to secure the metal twig. It is probable that the pedestal under the left pilaster has been remade, from a stone that is not identical to the Sicilian jasper under the right pilaster. The eight trefoil-shaped locks which are all original are made from cast iron. There has been some re-ebonising. The gilt-copper mounts have been regilt and there are some very minor replacements, for example to two missing leaves on a cherry branch. There are also some minor breaks in the ripple-cut gilt-copper banding in the spandrels above the demi-lune section and there is a minor section of marble missing from the top corner of the same area. There are also minor scratches and patches to the veneer especially to the top but this has been well executed and is hardly noticeable. Right lapis lazuli pilaster restored with some minor chips. There are restored vertical hairline cracks down both sides but these have been well executed. Some of the gilt-copper banding on the left side is tarnished and has lost its gilding but can easily be regilt. The handles on the internal drawers are later replacements. Two stalks on the cherries on the left are replaced and there is a crack and resoldering above the two leaves and part of the bow is missing and there is now a pin. The right hand cherries are also missing a leaf which also has been replaced by a pin. Minor restorations to marble panels which have been well executed. Partially rebacked. The gilt-copper banding on the left side is lifting slightly but can easily be repinned.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The naturalistic subjects of flowers and birds that form the decoration are typical of the Florentine mosaics created in the Galleria dei Lavori (Grand Ducal Workshop). The subjects were influenced by the mosaicist Jacopo Ligozzi (Verona 1547-Florence 1626), who initiated the trend from the first decades of XVII century. Since then, for over a century, the Belgian black marble panel that constituted the ideal background in order to highlight the bright colours of the bird plumage and compositions of flowers and fruit, became the official signature of mosaics manufactured in Florence, appreciated everywhere and often imitated, but rarely of the same material, quality and fine execution.
Skills such as those are featured on this very fine and sophisticated cabinet, the panels of which show a rich assortment of mainly hardstones that have been chosen with sensitive detail to colour, combine to give fluidity to the picture. For example, on the central door the luminosity of the chalcedony that graduates to a coral pink creating a delicate roundness to the bird's body; also on the same panel the movement of the veins of oriental alabaster creates the shape of the bowl holding the fruit and flower composition.
Amongst these, the pomegranate stands out in the centre, a symbol celebrating immortality that draws you in to look at the seeds made from flowering Sicilian jasper chosen with considerable attention to detail in order to create such effect.
Amongst the vivid contrasting hues of the mosaics, the luminosity of the lunette stands out–it has already been compared to the lunettes of the cabinet featuring "la Veduta della Villa La Petraia" circa 1615-20, in Palazzo Vecchio, Florence (inv. Sculture 1882, no. 1093), reproduced here in fig. 1, (Splendori di Pietre Dure, catalogue of the exhibition curated by A. Giusti, Florence 1988, cat 31, p. 148).The lunette displays a certain elegance by using slices of the same block of agate, this results in a more intense graduation of tonal light from the veins of the central element, which move towards the lighter edges.
The mother-of-pearl pieces inserted into the agate are a fine detail which can be seen above the curled scroll on the base plate centred by fine agate in hues of pink and violet cut in a couple of mirroring slices. This type of decoration renders the abstract cartouche in a more naturalistic way, this is another method often used in the Florentine mosaics of the XVIIth century. A more elaborate example of which can be seen on the base of the prie-dieu in the Monumental Appartments of Palazzo Pitti dated 1687, (La Cappella dei Principi e le pietre dure a Firenze by U. Badini, A. Giusti, A. Pampaloni Martelli, Milan,1979, fig. 96-97).
The offered cabinet is based on the design of Florentine table cabinets of the mid XVIIth century, in particular the subjects and distribution of mosaics, placed symmetrically on the sides of the central area, the most important feature of which is the door. The ever-present decoration of the flower and fruit bowl composition is in our case enriched with a flying bird, that later towards the end of the century becomes the protagonist on the central door.
The production of this kind of furniture was widespread and continuous under the Grand Ducal period and was not only destined for Medicean residences but often also sent as presents to important figures in society; seen as prestigious business cards of il Granduca di Toscana–holder of such an exclusive artistic workshop.
In order to increase productivity, the same templates were used to create the mosaic panels, as seen here on the four pairs of panels featuring birds and flowers that mirror each other. On the other hand, the fine methods and use of vibrant colour of the stones were far from the risk of repetition, resulting in originality for each creation.  This cabinet can be compared with another similar one, for example if we look at the details of the cherries on the volutes. For this reason, it is possible that they could have been originally conceived as a pair. The other cabinet is in the Gilbert Collection, recently under management of the Victoria and Albert Museum (A. Massinelli, The Gilbert Collection of Hardstones, London, 2000, cat. 4, p. 38-40), was later enriched with pieces on the pedestal and crown, reproduced here in fig. 2.  Meanwhile our cabinet has maintained its original design and remains structurally compact, borrowed from the prototypes of the first half of the 17th century. This aspect along with the design of the mosaics which are reminiscent of the naturalistic designs of Ligozzi, allow us to date the cabinet within the reign of Ferdinand II (+1670), not long after the middle of the century.

Annamaria Giusti, Florence 2009. A copy of the original footnote in Italian is available from the department upon request.