A LOUIS XVI SYCAMORE, SATINÉ AND JAPAN LACQUER MEUBLE D'ENTRE-DEUX FORMANT SECRÉTAIRE, ATTRIBUTED TO MARTIN CARLIN |

the white marble top above the fall-front opening to reval four drawers and three compartments, above a pair of cupboard doors revealing a shelf, flanked by four shelves on each side ; the lock inscribed T. Parsons patentee (this cabinet was probably restored in England during 19th century)

The illustration is slightly too orange. Overall condition is quite fine. The woodwork is in good condition, the veneer on the sides seems to be satinwood, with a few minor vertical cracks, the borders in amaranth. The inside is veneered with sycamore "maillé" in good condition; the drawer knobs probably replaced; the leather of later date. The bronze mounts are quite tarnished with wear to the gilding. Tiny elements missing on bronze borders on both sides (visible on photograph). The black backgrounds of the lacquer panels partly sunfaded, one vertical crack filled in on the left door. The upper marble top with a few cracks and marks. The marble shelves : one broken on right side, another one with a damaged corner on left side. Please note this piece is similar to works by Claude Charles Saunier as well as to some pieces of furniture by Carlin who was also a dealer. / Illustration légèrement trop orange. État général assez satisfaisant. Ébénisterie en bon état, le placage des côtés semble être une variété de citronnier, quelques petites craquelures verticales. Les arêtes des montants et bordures en amarante. L’intérieur en placage de sycomore maillé en bon état. Boutons de tiroir probablement rapportés; cuir postérieur. Les bronzes sont assez sales avec des usures à la dorure. De légers manques sur certaines galeries ajourées des côtés. Panneaux de laque avec une fissure verticales comblée (vantail gauche), les fonds noirs partiellement ensolés doivent être harmonisés avec une mise en couleur. Plateau en marbre supérieur avec quelques fissures et piqûres. Plateaux latéraux, un cassé à droite, un autre avec un angle abimé à gauche. Veuillez noter que des similitudes existent avec des meubles de Claude Charles Saunier et aussi avec certaines pièces de Carlin qui était aussi marchand.
"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."

Created during Louis XIV’s reign, furniture decorated with lacquer panels from the Far East remained popular throughout the 18th century. Lazare Duvaux’s demise in 1785 marked the end of the Rococo style with Chinoiserie. Japanese lacquers were then more favored than Chinese lacquers, due to their subdued decoration. These Japanese lacquers came mostly from boxes and cabinets, resulting in smaller panels with narrower compositions. The quality of Japanese lacquer was unmistakable and required the finest bronzes and most splendid cabinetmaking. The gap then widened between the greater cabinetmakers who had access to these lacquers and who benefited from prestigious orders (Carlin, Weisweiler, Joseph, Saunier and Riesener) and the intermediate craftsmen who were reduced to imitating Japanese lacquers as best they could. The 18th century inventories mention only two or three Japanese lacquered furniture in each collection, thus proving the preciousness and rarity of these pieces of furniture since their inception.