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拍品專文
This striking table, richly inlaid with naturalistically drawn birds and flowers surrounding a central urn, relates to the the work of the Flemish-born intarsiatore Leonardo van der Vinne, who was active in the Grand Ducal workshops in Florence from 1659 until his death in 1713. Its overall form and naturalistic marquetry relate to a similar table in the Museo degli Argenti in the Palazzo Pitti, Florence, dated 1664, which is securely attributed to Van der Vinne on the basis of the similarities of its marquetry to a cabinet documented as being by him through a bill identifying the maker as 'Leonardo Leonardi fiammingo'. Van der Vinne, who was perhaps the most celebrated specialist cabinet-maker and inlayer in the Grand Ducal workshops, was also given the name of 'Tarsia' because of his proficiency in this field.
Another pair of tables in the Villa Petraia, Florence, attributed to Van der Vinne, with marquetry tops of lush scrolling foliage and birds around a flower-filled urn, also relate to the table offered here.
(See A. González-Palacios, Il Tempio del Gusto: La Toscana e L' Italia Settentrionale, Milan, 1984, vol. I, pp. 17-29, and vol. II, figs. 16-19 and 36-8, and E. Colle, I Mobili di Palazzo Pitti: Il Periodo dei Medici 1537-1737, Florence, 1996, cat. 34 and 60, and p. 32, figs 4-5).
The intensely naturalistic style of marquetry of this table, clearly influenced by Flemish still-life painting, was of course almost a universal style in Europe in the second half of the 17th century, with similar inlay being produced in London and Paris as well as Antwerp and Florence, although the craftsmen involved were often Flemish in origin (for instance Pierre Gole, who worked for Louis XIV's Gobelins workshops). However, the lack of tortoiseshell in the marquetry and the predominant use of pine, rather than walnut or oak, in the interior construction on this table, could certainly point to a Florentine origin.
Another pair of tables in the Villa Petraia, Florence, attributed to Van der Vinne, with marquetry tops of lush scrolling foliage and birds around a flower-filled urn, also relate to the table offered here.
(See A. González-Palacios, Il Tempio del Gusto: La Toscana e L' Italia Settentrionale, Milan, 1984, vol. I, pp. 17-29, and vol. II, figs. 16-19 and 36-8, and E. Colle, I Mobili di Palazzo Pitti: Il Periodo dei Medici 1537-1737, Florence, 1996, cat. 34 and 60, and p. 32, figs 4-5).
The intensely naturalistic style of marquetry of this table, clearly influenced by Flemish still-life painting, was of course almost a universal style in Europe in the second half of the 17th century, with similar inlay being produced in London and Paris as well as Antwerp and Florence, although the craftsmen involved were often Flemish in origin (for instance Pierre Gole, who worked for Louis XIV's Gobelins workshops). However, the lack of tortoiseshell in the marquetry and the predominant use of pine, rather than walnut or oak, in the interior construction on this table, could certainly point to a Florentine origin.