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拍品專文
This striking commode, richly inlaid with naturalistically drawn foliage and flowers, 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. One example of this type of naturalistic marquetry can be found on a 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'. (E. Colle, I Mobili di Palazzo Pitti: Il Periodo dei Medici 1537-1737, Florence, 1996, p. 148, pl. 34).
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. 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.
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. 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.