A carved giltwood, composition and polychrome painted centre table and mirror, in Retour d'Egypte style, probably French late 19th century

Emmanuel Constantine Zervudachi, Villa Draneht Pasha, Oggebbio, Lake Maggiore
Sold in Peter Zervudachi sale, in these Rooms, 10th & 11th June 1998, lot 204.

 

Egyptomania catalogue of the exhibition at the Louvre, 20th January - 18th April 1994, illustrated page 460, No. 303-306.

Gilding more golden and much more attractive than in the catalogue photograph. Mirror: Construction cracks at joints some of which show evidence of previous restoration especially on the cornice of the mirror, which can easily be filled. Some minor chips and flaking to decoration and an old minor restoration to the frame at the base of the mirror. Table: Old minor marks, chips and scratches to the marble top with a couple of larger scratches and there are some old restorations which have been well executed and are hardly noticeable. Some chips to decoration on some of the Egyptian masks on the table. A highly unusual piece. In overall good condition.
"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:
J.M.Humbert, L'Egyptomanie dans l'art occidental, Paris, 1989, p. 71, illustrates the pavilion des éléphants at the zoo in Antwerp, constructed between 1855-1856 by the architect Charles Servais, which may well have inspired the maker of this table and console. It is after the models of the Temple of Philae and the Egyptian Court at Sydenham.

It had been assumed that these pieces were made in Paris around 1868, for the world premier of Verdi's opera 'Aida' at the Khédivial Opera House, Cairo, on Christmas eve, 24th December 1871, but in the haste to transport the sets and costumes to Cairo for the premier, the table and mirror were left behind due to the outbreak of the Franco-Prussian War in 1870, and this would explain why they had lain forgotten in a warehouse for nearly 100 years.In the Egyptomania catalogue, however, there is an alternative explanation regarding the origins of this table and mirror, where it is stated that they were part of a suite of furniture, in the Egyptian style, that was ordered in Paris in  and around 1868, by Khédive Ismaïl for his Ghesireh Palace in Cairo, which was lavishly furnished to commemorate the opening of the Suez Canal and where he received Empress Eugénie on 17th November 1869.  However, there is no evidence that this Palace had any Egyptian style rooms.

Draneht Pasha (1815-1894) was instructed by Ismaïl, the Khédive of Egypt, with the task of the creation of the Cairo opera house, with the intention that Cairo would become a leading cultural and artistic centre to rival the European captials.  The Khédivial opera house was modelled on La Scala and erected in six months and Draneht was appointed its first intendant.  Ismaïl, to celebrate the opening of the Suez Canal asked Draneht to commission Verdi to write an opera for the occasion.  It is interesting that Auguste Mariette, the archeologist and superintendant of the Cairo Museum, was also involved in the project.  Draneht in his memoirs, states that the drawing room at the villa Draneht Pasha, known as the Egyptian salon, copied from a Temple in upper Egypt was equipped with furniture given to him as a wedding present by one of the Paris firms, Messrs Rubé and Chaperon and Messrs Dêspléchin and Lavastre that made the stage sets for Aida.  The furniture was, in the 1920's, used as props in amateur theatricals staged by Draneht's grandchildren.