An Anglo-Indian ivory-inlaid rosewood bureau-cabinet on later stand Vizagapatam, mid 18th century

the top with a pair of doors enclosing a fitted interior of thirteen drawers, two secret compartments and pigeonholes ornamented with tortoiseshell and ebony, the flap below enclosing eight drawers and two secret compartments and pigeonholes, similarly ornamented, above two drawers 

Comparative Literature: Related cabinets are illustrated in Amin Jaffer, Furniture from British India and Ceylon, A Catalogue of the Collections in the Victoria and Albert Museum, 2001, pp.184-185 and pp.190-192.

Very good overall condition. The lock some characteristic minor damage to ivory ornament. The lock on the flap has been replaced and a small rectanglar section of timber has been inserted to repair damage which is only clearly visible from the interior. Minor old marks and scratches consistent with age and use. The lock on the rightr hand door has been replaced and rather clumsily fitted with added timber to the inside which has cut into the ivory foliate decoration. Both drawers beneath the flap have replaced locks and added inset timber which has been let into the front anf which also cuts into the original foliate decoration. There is a repair immediately above the centre of both doors and signs of a mount.
"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."

Vizagaptam furniture and related wares
Vizagapatam is situated on the south east coast of India between the Godava River and Nagapatnam, close to the large city of Madras to the south. Since the 17th century it has served as a major port, and has historically been part of the major trading route between Europe and the Far East. Amin Jaffer notes that `Vizagapatam possessed the ingredients necessary for the success of a centre of furniture-making', its fine harbour providing access to many fine timbers including teak, ebony and rosewood which were indigenous to the surrounding Northern Circars region. Other materials, such as ivory from Pegu, padouk and sandalwood were also readily available to the local craftsmen. The area was an old established centre for the manufacture of dyed cottons which had attracted European traders since the 17th century. These included the Dutch who established a trading post at Bimlipatam to the north in 1628, and the English, whose textile factory was founded at Vizagapatam in 1668. In 1768 the whole of the Circars region came under the control of the East India Company, with a subsequent increase in population due to the expanding lucrative coastal trade.

Curiously, although it is evident from the survival of several pieces of furniture dating from the second quarter of the 18th century, the first written reference to ivory inlaid furniture in Vizagapatam was made in 1756 by a Major John Corneille, who noted that the area was known for the quality of its chintz, which is `esteemed the best in India for its brightness of its colours' and that `the place is likewise remarkable for its inlay work, and justly for they do it to the greatest perfection' (A. Jaffer, op.cit., p. 172).

It is obvious from the pieces which survive from the mid-18th century that native craftsmen were strongly influenced by their European customers. Furniture from Vizagapatam was often based on either Dutch or English examples, or designs made available through contemporary furniture pattern books. Such derivation is best seen in the suite of ivory-inlaid chairs, now in the British Royal Collection, commissioned by Alexander Wynch, Governor of Fort St. George, the design for which was clearly influenced by Chippendale's Director of 1762.

The degree of influence over native cabinet makers by resident English merchants is poorly documented, although Samuel Banks, a merchant who died at Vizagapatam in 1754, was certainly closely involved with them.  As Jaffer states, `accounts of his estate indicate that he traded in teak, sandalwood and ivory, and held substantial stocks of looking glasses'. He also left a group of `unfinished' inlaid boxes indicating that he had some involvement in their manufacture. Another merchant John Compton, who was a contemporary of Banks, left `half a dozen tea caddies and a total of seventeen "Escrutores inlaid with ivory" which were not fitted with mounts'.

Although the design of furniture produced by Indian cabinet makers was heavily influenced by European models, its decoration remains purely Indian in character. The broad bands of engraved ivory depict wonderfully exotic foliage with sinuous branches and luscious flowers and fruit. These motifs, first drawn by Indian artists, were initially used as decoration on brightly coloured cotton goods, such as palampores, which had proved to be immensely popular in the west since the 17th century.  The clear white of the ivory, ornamented  with engraving enhanced by black lac, inlaid into rich native timbers, must have proved particularly exciting to the western eye. Towards the end of the 18th century items of furniture were more commonly totally veneered with sheets of engraved ivory, the engraving sometimes incorporating architectural views.