AN ITALIAN ENGRAVED IVORY AND MOTHER-OF-PEARL INLAID EBONY CABINET BY GIOVANNI BATTISTA GATTI, SECOND HALF OF 19TH CENTURY |

decorated on all sides in the Renaissance taste, with scrolls, grotesques and vedute of the Pantheon and the so-called Vesta temple in Rome on the sides, the fall front adorned with a cypher IBC and the portrait of Raffaello, opening to reveal four drawers, the third one with cats pattern, the last one stamped G.B. GATTI underneath

The photograph is accurate. Very good overall condition. The ebony veneer is a little dry but in good condition. The ivory medallions with some expected cracks but not distracting. Highly refined marquetry work typical of Gatti. To recommend.
"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."

Giovanni Battista Gatti (1816-1889) was one of the most distinguished Italian ébénistes and intarsiatore of the 19th century. Having studied in Florence, he established his own workshop at his hometown Faenza. From 1843 he worked in Roma for Cardinal Amat, the Pope's chancellor, who allowed him a place to work in the palazzo della Cancelleria; he also had a shop 47 via Sistina.
Gatti attended to Europe's international industrial and cultural expos, at the 'Paris Expositions Universelles' in 1855, 1867 and 1878, at London in 1862 and Vienna in 1873. He enjoyed the support of imperial, aristocratic and ecclesiastical patrons in Europe including the Austrian Emperor. His limited production may be explained by the fact that he had not any apprentices or helpers in his workshop. Due to problems with his eyesight, he stopped working in 1881 and donated a part of his works to the Pinacoteca di Faenza. The Renaissance Revival manner pioneered by Italian craftsmen during the first half of the century and was established as the dominant aesthetic mode in the 1860's and 1870's. During his training in Florence with the Dominican brother Girolamo Bianchedi and the craftman Luigi Falcini, Gatti learnt the art of wooden marquetry; later in Rome, he focused on ebony veneered works inlaid with ivory and mother-of-pearl.
Our cabinet figures some decorative patterns often seen on Gatti's objects, such as medaillons of famous men - here Raffaello after his self-portrait from the Uffizi - , cats - a hint to his last name - and vedute of the main Roman monuments: there was a similar view of the Pantheon on the table sold 125 000 € in these rooms, 11 April 2018, lot 301.