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A SOUTH ITALIAN VERRÉ EGLOMISÉ, TORTOISESHELL, ROSEWOOD, EBONY AND EBONISED CABINET ON A GEORGE III PARCEL-GILT AND EBONISED STAND
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A SOUTH ITALIAN VERRÉ EGLOMISÉ, TORTOISESHELL, ROSEWOOD, EBONY AND EBONISED CABINET ON A GEORGE III PARCEL-GILT AND EBONISED STAND

THE CABINET NAPLES, LATE 17TH CENTURY, CIRCLE OF LUCA GIORDANO AND POSSIBLY BY DOMENICO COSCIA, THE STAND LATE 18TH CENTURY

Details
A SOUTH ITALIAN VERRÉ EGLOMISÉ, TORTOISESHELL, ROSEWOOD, EBONY AND EBONISED CABINET ON A GEORGE III PARCEL-GILT AND EBONISED STAND
THE CABINET NAPLES, LATE 17TH CENTURY, CIRCLE OF LUCA GIORDANO AND POSSIBLY BY DOMENICO COSCIA, THE STAND LATE 18TH CENTURY
The rectangular breakfront cornice above four drawers to each side painted with mythological scenes and surrounding a central door, the drawers with two painted panels each within ebony and giltwood frames, the central door with arched panel within a broken segmental pediment and framed by Solomonic columns and further flanked by large Solomonic columns enclosing a mirrored recess, the floor inset with a painted panel of Bacchus in a chariot, surmounted by a drawer with a broken triangular pediment and centred by an arched panel with segmental pediment above, on a conforming leaf-carved stand with square fluted tapering legs, the stand redecorated, the central panel and one upright panel on the right pilaster replaced
69¼ in. (176 cm.) high; 58 in. (148 cm.) wide; 19 in. (49 cm.) deep
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No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis.

Lot Essay

Such magnificent cabinets featured in the bedroom and state apartments of the 17th Century and formed part of the art sought by the 17th and 18th century Grand Tourist. A closely related pair of cabinets, possibly from the same workshops, was brought back to England by Sir Thomas Isham, 3rd Bt. (d. 1681) in 1676, after he had spent three years in Rome collecting paintings and engravings. Further related cabinets are in the Victoria & Albert Museum, London, the Palazzo Barberini, Rome, and the Palazzo Pitti, Florence (see E. Colle, Il Mobile Barocco in Italia, Milan, 2000, no. 14), while a very closely related pair of cabinets, with virtually identical putti-adorned column mounts, was sold, Christie's house sale, Castillo de Bendinat, 24-25 May 1999, lot 236 (Ptas. 30,250,000).

Depicting a range of mythological as well as classicised subjects, the painted scenes on this cabinet are very much in the Giordanesque style, though not directly based on any painting on glass by Luca Giordano. (1632-1705) survives in the collection at La Granja de San Ildefonso in Spain, however, no cabinet of this design has panels securely attributed to Giordano. An 18th century source, Bernardo de Dominici, wrote in his Vite de' Pittori, Scultori ed Architetti Napoletani, (Naples, 1742-45), of the similarity in style of the painted glass panels to the work of Luca Giordano, however, Dominici also mentions that several of Giordano's pupils painted on glass, including a painter named Domenico Coscia, who actually specialised in painting scenes on glass for furniture. Although little is known about Coscia (died after 1718, for a summary of his life see Linda Martino's introduction of the 'Vetri Dipinti' section in A. Gonzáles-Palacios, Civilta del Seicento a Napoli, 1984, p. 422), but his specialisation makes him a likely source for the glass panels on the present cabinet.

Alvar González-Palacios, on the other hand, suggested the panels for this type of cabinet were painted in Florence and then attached to the cabinet in Naples, as was the case with the pietre dure panels made in Florence for use on cabinets made elsewhere (A. González-Palacios, Il Tempio del Gusto, vol. I, Milan, 1984, p. 283 and pl. XXXVI), and Mina Gregori and Federico Zeri have attributed panels in a Naples private collection to the Florentine artist Pietro Dandini (1646-1712) (ibid., p. 283).
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