A Very Fine and Rare Aesthetic Movement carved Walnut, Rosewood, Ebony and Fruitwood and Brass Marquetry side cabinet, New York, circa 1880-5

The breakfronted cornice centered by an elaborate marquetry panel of a classical urn flanked by foliate garlands and rinceaux against an ebony veneer ground, the pink breccia three tier marble top above two cupboard doors opening to a mahogany veneered interior, and decorated with brown-patinated metal classical female masks adorned with musical trophies and flanked by a further two cupboard doors with repoussé plaques of overflowing fruit filled cornucopia among scrolled foliate and ivy garlands, each plaque flanked by an ionic capital and fluted columns, the cabinet supported on six toupie feet, black paint inscription beneath central marble top 5118 Store, apparently unsigned.

In fine condition, proper left and right doors locked, light repair to proper right top corner.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This impressive drawing room cabinet beautifully documents and displays the assertive visual qualities of the Gilded Age in America.  Although its manufacture is unknown, the object is an important example of a distinctive line of Franco-American furniture offered by New York's leading cabinetmakers in the decades of the 1880's.  Herter Brothers, Pottier & Stymus and Alexander Roux are potential candidates for maker of this piece.  It not only demonstrates yet another emergence of the classical tradition but also represents the figurative high-water mark of workmanship and visual complexity.

Related elements such as the female faces and flower and vine inlay can be found incorporated into a number of Herter Brother pieces (see Katherine S. Howe, et.al., Herter Brothers: Furniture and Interiors for a Gilded Age, (New York: Harry N. Abrams, Inc., 1994), pp. 218-20 and Anna Tobin D'Ambrosio, Masterpieces of American Furniture from the Munson-William-Proctor Institute, (Syracuse, NY: Syracuse University Press, 1999)).