A RUSSIAN TULIPWOOD, AMARANTH, AND MARQUETRY WRITING DESK
A RUSSIAN TULIPWOOD, AMARANTH, AND MARQUETRY WRITING DESK
A RUSSIAN TULIPWOOD, AMARANTH, AND MARQUETRY WRITING DESK
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A RUSSIAN TULIPWOOD, AMARANTH, AND MARQUETRY WRITING DESK
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A RUSSIAN TULIPWOOD, AMARANTH, AND MARQUETRY WRITING DESK

ST. PETERSBURG, CIRCA 1780

Details
A RUSSIAN TULIPWOOD, AMARANTH, AND MARQUETRY WRITING DESK
ST. PETERSBURG, CIRCA 1780
The kidney-form top inlaid with urn bearing garland and scrolling foliage within zebra-wood banding above a central drawer, and two side drawers with writing slides, raised on tapering legs connected by a stretcher
29 1⁄2 in. (75 cm.) high, 37 in. (94 cm.) wide, 18 1⁄2 in. (47 cm.) deep
Provenance
The Chinese Porcelain Company, New York.
Literature
The Chinese Porcelain Company, Important French Furniture & Decorative Arts, 1643-1805, New York, 2001, pp. 49-51, no. 18.

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Elizabeth Seigel
Elizabeth Seigel Vice President, Specialist, Head of Private and Iconic Collections

Lot Essay

The kidney form of this table is typical of Russian examples from the 1780s. Its shape as well as the x-form stretcher is similar to a table at Hillwood Museum, Washington, illustrated in A. Chenevière, Russian Furniture: the Golden Age, 1780-1840, New York, 1985, p. 41, fig. 25. The marquetry inlay to the top of this table is a testament to the flourishing popularity of inlaid furniture in late eighteenth century St. Petersburg. With its inlay, coupled with the kidney-shaped top and slender tapering legs, this lot is related to the oeuvre on Danish-born cabinet-maker Christian Meyer, who was a direct supplier to the Imperial court and undoubtedly one of the foremost cabinet-makers of his time. The particular decoration of this table reflects the ‘English style’ marquetry favored by Meyer, who drew inspiration for his marquetry inlay from the ornamental engravings of Michael Angelo Pergolesi, see T. Semenova, ‘Christian Meyer, a Marquetry Master from Saint Petersburg’, in Furniture History Society Journal, vol XLVII (2011), pp. 125-150. ‘English style’ marquetry was very popular among Meyer’s aristocratic clientele, including his main patron, Catherine the Great.

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