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A LOUIS XIV ORMOLU AND GILT-METAL-MOUNTED PARCEL-GILT, EBONY AND FRUITWOOD MARQUETRY CABINET-ON-STAND

THE CABINET 1660-1680, THE STAND OF LATER DATE AND INCORPORATING EARLIER MARQUETRY PANELS

Details

A LOUIS XIV ORMOLU AND GILT-METAL-MOUNTED PARCEL-GILT, EBONY AND FRUITWOOD MARQUETRY CABINET-ON-STAND
THE CABINET 1660-1680, THE STAND OF LATER DATE AND INCORPORATING EARLIER MARQUETRY PANELS
The breakfronted cornice with balustrade gallery above two ranges of walnut-lined drawers inlaid with strapwork shields issuing floral sprays, flanking a central door inlaid with a flower-filled vase with a short drawer above and below, the door enclosing an interior inlaid with seaweed marquetry, with an arrangement of twelve drawers flanking a central niche with mirrored sides and with a silver gilt figure of Hercules concealing three secret birch-lined drawers, two interior drawers marked with a brand 'F' with two stars within a heart, on an ebony and ebonised stand, restorations, some drawer liners replaced, the balustrade and finials of later date, lacking two figures to the interior
88 in. (223.5 cm.) high, 67 in. (170 cm.) wide, 22 in. (56 cm) deep

Provenance

With Junot, Geneva, 1971.

Special notice

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Carolyn Moore

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Lot Essay

The design of the richly scrolling, naturalistic floral marquetry panels, framed by distinctive arabesque borders, are derived from 17th century Flemish and French still life painters such as Ambrosius Bosschaert and Jean-Baptiste Monnoyer. It further relate this spectacular cabinet to the documented oeuvre of Pierre Gole (circa 1620-1684), who from 1656 was maître menuisier en ébène ordinaire du roi.
A flower-filled vase supported by a closely related monopodia-supported stand features on a cabinet attributed to Gole illustrated in Th. Lunsingh Scheurleer, Pierre Gole Ebéniste de Louis XIV, Dijon, 2005, pp. 137-141. Similar tied floral sprays to the drawer-fronts recur throughout Gole's oeuvre.

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