A magnificent and rare Italian gilt-bronze-mounted, ebony and ebonised cabinet on stand, the cabinet mounted with gouache panels on vellum heightened with gold, depicting scenes after Simon Vouet, Neapolitan second half 17th century

the cresting above a panelled frieze interposed by seraphim above an architectural niche, the upper section concealing a drawer above a swan neck pediment and a drawer flanked by tapering Solomonic columns opening to reveal a fitted interior with nine short drawers centred by a recess with five mirrored arches flanked by faux mabre tapering pilasters with a stylised octagonal fountain on a chequerboard ivory and ebony floor flanked on either side by three drawers, the stiles with rectangular painted panels each side with a pair of raised painted panels with canted borders similarly painted, the whole painted with mythological and allegorical scenes in gouache on vellum behind glass panels, the breakfront stand on seven spirally turned legs joined by stretchers on flattened bun feet

The colours are much more vibrant with more contrast and much more attractive in reality. This cabinet is one of the best in its genre. The size of the cabinet is monumental and most impressive and the quality of the painted panels is exceptional and they are in very good original condition. There has been some minor restoration to some of the painted panels, e.g. on the frieze-all bar two painted panels have been restored and the glass is broken on the second panel from the right. The arched panel above the central door has had a break as visible from photograph, but as it is amongst clouds it can easily be retouched. One of the very small panels above the swan neck pediment on the left have broken glass and also two small border panels below the central panel on the door but the glass can easily be replaced. There is also some minor losses to painted panels on the the tapering pilaster on the left side of the door. Some very minor sections of the ebonised mouldings are missing, but these can easily be replaced. A minor section of mount on the second drawer down on the left is missing, but this is hardly noticeable. There are small circular holes beneath the seraphim mounts on the frieze where there was possibly previously a fixing. Some of the mounts at the angles of the large doors are loose and just need repinning and some of these mounts would appear to be later replacements. The internal lockplates are now missing. The ebony moulding below the frieze on the right and left side is missing, but this can easily be replaced. There is a crack in one of the border panels on the left side and the glass covering the panel at the top of the left side is broken both as visible from the catalogue photograph which can easily be replaced. There are also some other smaller panels which have cracks in teh glass but these can easily be replaced. Evidence of old very minor restorations to the mouldings generally and there are some minor losses commensurate with age. There are also some minor cracks in the mounts. There appears to be something missing on the fountain internally and the marbling inside has been refreshed and there is some minor staining to the chequerboard floor (see p. 44). Also internally there appears to be mouldings missing on the sides and base as the carcass is revealed but this can easily be restored and there is evidence of previous finials above the swan neck pediments. There is also evidence of previous fixings as there are rectangular apertures on the top. Stand: The stand appears to have been re-ebonised probably during the 19th Century and there are old marks chips and scratches to the columns and stretcher and some stretchers have been replaced. One of the feet on the stand appears to have been replaced. Evidence of old previous worm and insect damage which appears no longer active. There are also some losses of the ebony veneer which are not too noticeable. A highly important piece with a very fascinating provenance being sold now by a Spanish Noble family in overall very good original condition. Highly attractive cabinet. Collector's piece. Highly recommended.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Comparative Literature:
L. Feduchi, Historia de los Estilos del Mueble Espagñol, figs. 296 & 297.
Alvar Gonzáles-Palacios, Il Tempio del Gusto, Milan, 1986, Vol II, , p. 223 & 231.
Jacques Thuillier, Vouet, Galeries nationales du Grand Palais, 6th November -11th February 1991, Paris, 1990, pp. 80, 134, 321.
Stephane Loire, ed. Simon Vouet, Paris, 1992, pp. 417-418

This magnificent cabinet in ebony with painted gouache on vellum panels represents the pinnacle of Neapolitan cabinet-making in the 17th century. These cabinets convey the taste for luxurious materials and  the refined aestheticism of their anonymous patrons. The glass paintings on some of these cabinets have traditionally been attributed to pupils of Luca Giordano (1632-1705) and in certain rare instances the compositions correspond to known images by Giordano.

However, the rarity of this piece is due to the fact that on this cabinet the panels can be traced to engravings after Simon Vouet (1590-1649), from which the artist who painted the panels on this cabinet clearly took inspiration. See for example, Thuillier, op. cit., p. 80, fror an engraving by Michel Dorigny, after Simon Vouet, of La Toilette de Venus, c. 1651, upon which  a scene on one of the drawers is based, reproduced here in fig. 1. Also see Thuillier, op. cit., p. 134, for another engraving by Michel Dorigny after Simon Vouet (1642), Mercury and the Three Graces, also depicted on a drawer front, reproduced here in fig. 2.  Thuillier also illustrates, op. cit.,  p. 321, a painting by Vouet of the Abduction of Europa, reproduced here in fig. 3, upon which the scene on the central door is reproduced. It is also worthwhile  comparing Loire, op. cit., pp. 417-418, for another engraving by Dorigny, after Vouet, of Pan and Syrinx, (Musée du Louvre, Paris,) found on another of the drawers. 

Alvar Gonzáles-Palacios, op. cit., p. 223 & 231, discovered some time ago documentation which indicates that painted glass panels were already being used to decorate cabinets in the first half of the 17th century. It is recorded that Vittorio Billa charged 60 Ducats in 1635 for supplying glass panels which were painted for two ebony cabinets. Furthermore, it is known that at least by the 1670's, one Neapolitan workshop was specialsing in producing these pieces. Although there are a number of these cabinets in Spanish collections, they originate in Naples as there were very strong ties between Naples and Spain as the former was part of the Spanish Dominion Empire at this time. Similar pieces are listed and are described in the documents from the archives of the Prince of Avellino, the Duke of Calabritti and the Cardinal Carafa. A bill dated 22nd October 1679 records a payment to Giovanni Battista Tara for a pair of these cabinets,see A.G-P. ibid., pp. 222-224. A.G.-P., op. cit., illustrates a related Neapolitan cabinet, last quarter of the 17th century, in the Museo delle Arti Industriali, Palazzo Barberini, Rome, reproduced here in fig. 4.

In 1676, Sir Thomas Isham, one of the earliest Grand Tourists returned from Naples with a pair of cabinets mounted with paintings on glass which are still in the family seat at Lamport Hall, Northamptonshire.

Cabinets recorded in Private Collections and sold at auction are as follows:

1. The set of four cabinets in the collection of Marquess de Campo-Franco, Palma de Mallorca, illustrated by Feduchi, op. cit., figs. 296 & 297-reproduced here in fig. 5. 

2. A pair of cabinets sold in these Rooms, 18th May 1984, lot 54.

3. A pair of cabinets painted in the manner of Luca Giordano, with mythological and allegorical scenes, sold in these Rooms, 20th November 1990, lot 45.

4. A pair of cabinets sold in these Rooms, lot 67, 15th December 1999.

The history of this cabinet is fascinating as there exists in old Spanish the transcript of a letter addressed to the Inquisition in Navarra by Mr. Salvador Bertiz on May 18^th 1804 from the archive's copy. It addresses the issue of the immorality of the scenes depicted onthe cabinet which are based on mythological and allegorical subjects:

`I own a house at El Carmen Street in Pamplona where there are some valuable old cabinets with inlaid paintings. These paintings are very beautiful indeed but a little indecorous. I have not managed to retouch them although I tried to find a restorer who could hide the indecency without ruining the whole painting which is beautiful. In these circumstances, I received a letter from Fr. Serapio Castejo, a Carmelita monk from the Tribunal of the Inquisition, (which I enclose), who aware of the content of these paintings, asks me to order you not to touch the cabinet or paintings in it. And please in case any decision is taken in regards to this don´t forget to inform me. I will, meantime make sure that the paintings are covered and not shown to anyone.'