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拍品專文
Dr. Amin Jaffer notes that the form of the present cabinet, opening as it does with two doors rather than a fall-front, was introduced as a result of Western influence at the end of the seventeenth century. A cabinet of similar form is in the Victoria and Albert Museum (Amin Jaffer, Luxury Goods from India: the Art of the Indian Cabinet-Maker, London, 2002, no.25).
The exterior decoration of the present cabinet with its overall fruiting vine is different from the designs found on most Gujerati and Sindh cabinets of this period, which almost always have either figural designs, single floral sprays, or combinations of the two. The silver mounts are also very rare to find. Their style of slightly sketchy engraving on a hatched ground is similar to the work on the mounts of a tortoiseshell casket from the same area attributed to the early 17th century (Jaffer, op.cit., no.2). It is almost certain that the mounts therefore, including the armorials, were worked in India rather than in Europe.
The exterior decoration of the present cabinet with its overall fruiting vine is different from the designs found on most Gujerati and Sindh cabinets of this period, which almost always have either figural designs, single floral sprays, or combinations of the two. The silver mounts are also very rare to find. Their style of slightly sketchy engraving on a hatched ground is similar to the work on the mounts of a tortoiseshell casket from the same area attributed to the early 17th century (Jaffer, op.cit., no.2). It is almost certain that the mounts therefore, including the armorials, were worked in India rather than in Europe.