A Louis XIV ormolu-mounted, brass and ivory-inlaid ebony and marquetry bureau circa 1685

With scattered age and construction cracks. Marquetry with small losses -not extensive - and restorations. Stretchers reinforced on underside. Two back legs later, some feet later. Ormolu mounts with oxidation and surface dirt. Scattered old worm damage to underside. Top with lifting cental section now fixed, brass inlay of top later. In otherwise 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.
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.

Marquetry of this type was fashionable from the mid 17th century through to the beginning of the 18th century and was initially inspired by the works of the painter Jean-Baptiste Monnoyer.
The greatest proponents of this form of marquetry at the time were André-Charles Boulle (1642-1732) and Pierre Gole (c.1620-1684).  It is very interesting that Boulle often employed very similar "masks", as seen on the top of this desk.  See a marquetry table by Boulle, circa 1675-1680, in the Fine Arts Museum of San Francisco, illustrated J-N. Renfort, André-Charles Boulle, Un Nouveau Style Pour l'Europe, exhibition catalogue, 2009, p. 66.  A desk by Boulle in the Bowes Museum shows drawers with a similar, albeit stretched, marquetry decoration (see A. Pradère, French Furniture Makers, 1989, p. 94). Numerous desks by Pierre Gole exhibit very similar decoration to the drawers and similar decoration to the top with flower vases flanked by foliate scrolls (see H. Lunsigh Scheurleer, Pierre Gole, Dijon, 2005, pp. 190-193 and 258-259, 261-263).
A number of pieces are known which are probably by the same maker as this desk.  These include a bureau with almost identical marquetry and ivory decoration to the drawers and to the top (including the distinctive mask) formerly in the collection of the 6^th Earl of Rosebery at Mentmore.  Included in Sotheby's sale catalogue (18-20 May, 1977) as lot 403, it was acquired before the sale by the Victoria and Albert Museum (W.34-1977).

A series of marquetry commodes with a very similar decoration and incorporating this distinctive mask to the top may also be by the same maker.  These include a commode sold from the Wildenstein Collection, Christie's London, 15 December, 2005, lot 115, another sold at Sotheby's New York, 20 May, 1995, lot 133, and another sold at Sotheby's Paris, 18 June, 2002, lot 32.  It has been suggested that a possible maker might be Aubertin Gaudron.  In 1713 he supplied a commode for the Chateau of Compiègne, the top of which was described as follows:

"de bois de plusieurs couleurs fond d'ébène ornée au milieu d'un vase rempli de fleurs posé sur un bout de table et un masque grotesque au dessous le reste rempli de rinceaux fleurs oiseaux et papillons au naturel (AN 01/3308).