An Italian gilt-bronze-and pietra dura-mounted ebony and ebonised cabinet, in the manner of Francesco Betti ( c.1848-1884), Florentine third quarter 19th century

the upper section of architectural form surmounted by the bust of a Roman emperor above a night clock within an arched case with a painted copper dial depicting Father Time with a cherub holding a scrolled boss with initials surmounted by a crown, with a balustraded cresting with flaming urn finials, above a cupboard door centred by a gilt-bronze figure of a satyr standing on a dolphin, flanked by lapis lazuli Corinthian columns, the interior fitted with two long and four short drawers, with a further deep drawer all mounted with marble plaques, with a further drawer above with a triangular pediment and balustrade flanked by a further six drawers on either side all mounted with pietra dura plaques depicting birds on fruiting branches and floral sprays, two drawers mounted with a balustrade above a niche with a gilt-bronze classical female figure, the lower section with three cupboard doors enclosing a later shelf, two doors inlaid with flower-filled vases, one with a roundel containing a female mask surmounted by a fruit-filled tazza, the canted sides with lapis lazuli veneered Corinthian columns, on a plinth base, the whole mounted with panels of Egyptian porphyry, lapis lazuli, Siena, verde antico and rosso antico marbles within ripple-cut mouldings 

The piece is rather dirty overall and would benefit from a clean according to taste. The gilt-bronze mounts are tarnished. There is a section of moulding on the upper section top right side which is held in place by tape and needs restoring There are minor sections of mouldings generally framing the marble panels which will need some restoration. There are hairline cracks generally especially in the ebony mouldings. Very attractive detail to choice of stones in the pietra dura plaques. Some of the plaques have been restored especially the plain marble panels. Some minor sections of ebony veneer missing especially on the lower section of the plinth base. On the lower section both verde antico marble panels on the sides have been restored and some of the ebony moulding around the geometric panels of marble on the frieze of the lower section are missing as visible from photograph. There are also some losses to the lapis lazuli on the columns, but this is not too noticeable and there have been replacements. There is a small piece of marble missing above the mask on the lower section central panel. In need of some attention and also once cleaned, the piece will look most impressive.
"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:
Enrico Colle, Il Mobile dell'Ottocento in Italia, Milan, 2007, pp. 376-377, no. 81.

This cabinet revives the taste for baroque pietre dure mounted ebony architectural cabinets that originated from Florence in the mid 17^th century. 

It has the distinctive Florentine plaques depicting birds on fruiting branches and foliate sprays. The form and decoration of this cabinet is in the manner of Francesco Betti, the Florentine cabinet-maker.  A cabinet in this style with plaques with the distinctive bunches of grapes which are on this cabinet, can be seen on a less elaborate cabinet by him in the Museo Borgogna, Vercelli, illustrated by Colle, op. cit., p. 376, no. 81. Another related cabinet by Betti, is illustrated by Colle, op. cit., p. 377, no. 81. At the l'esposizione Nazionale di Firenze in 1861, the work of Betti received commendation from the critics for their perfect construction and treatment of the subject matter.