Petit cabinet en écaille de tortue et argent filigrané, vers 1650

les portes à charnière se fermant par une épingle et s'ouvrant sur dix tiroirs amovibles et une troisème porte à charnière, orné de volutes finement filigranées sur des panneaux en écaille, l'intérieur des portes avec des panneaux de verre églomisé, probablement Flandres, seconde moitié du XVIe siècle


Hinged doors closing with pin and opening onto ten removal drawers and internal hinged door, fitted with fine silver filigree scrolls and flowers on tortoiseshell, inside of the doors fitted with verre eglomise panels, probably Flemish, second half of the 16th century

Filigree cabinet in generally pretty good condition, gap between the tortoiseshell panels and the frames on top and sides of the cabinet, piece missing at the hinge of frame at the back of the cabinet, a tiny hole in bottom of one drawers ; Panels are generally in excellent condition althought they are some areas of small paint loss and discolourations, they are also inevitable small losses to the gilding and oxydisation of silver leaf in some places. In general, most of the problems are to be found at the edges of the panels. The frames are crickled as if the panels have been removed for cleaning. Chip on the back of the leaft glass panel. Please see detais of the panels on the Internet.
"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."

Le filigrane était une technique développée à travers toute l'Europe durant les XVI et XVIIIe siècles, mais la forme du cabinet, ainsi que les volutes charnues et les tulipes se rapprochent particulièrement des gravures de Daniel Marot et de la mode hollandaise du XVIIe siècle.

Il se peut que les panneaux représentent l'histoire du roi Salomon, le Jugement et la Visite de la Reine de Saba. Bien que biblique, le personnage semble ici faire référence à un monarque de l'époque, tel Philippe II d'Espagne (1528-1597). Appelé Salomon le second pour sa sagesse et son combat constant contre le protestantisme, notamment en Flandres espagnoles, il fit construire l'Escorial sur le modèle du temple de Salomon. Philippe II épousa Marie I et devint roi-consort d'Angleterre entre 1554-1558, ce qui pourrait expliquer la présence de St George et le dragon, symbole de la royauté anglaise.
Toutefois, le roi est représenté sans barbe et ses trais sont relativement féminins. Le panneau de gauche par ailleurs suit de très près l'image d'Elisabeth I largement reprise dans les diverses chartes de l'époque. Il ne s'agirait alors plus de Salomon mais du roi Herode, et du Massacre des Innocents, justifiée par la présence de deux enfants dans cette scène. Un artiste catholique aurait tout à fait mettre en parallèle la reine protestante, l'ennemi juré, avec ce roi, connu pour sa cruauté.

Between the 16th and 18th century, filigree was widely developed throughout Europe. The shape of the cabinet however and the bulbous leafy scrolls and tulips are very close to Daniel Marot's designs and the 17th century Dutch fashion.

The panels possibly depict two stories of King Solomon, the Judgement and the Visit of the Queen of Sheba. In spite of the person being biblical, the figure and his trapping is represented in a contemporary way which might refer to a living monarch, such as Philip II of Spain (1528-1597). He was called Solomon the second, for his wisdom and constant fight against the Protestantism, especially in the Netherlands. He built the Escorial in Spain as a reference to the New temple of Jerusalem built by King Solomon. Philip II married Mary I and became King-consort of England between 1554 and 1558, perhaps explaining the canopy cresting of St George and the Dragon, symbol of English royalty.
The king however is depicted without any beard and has feminine features. In addition to this, the left hand panel closely follows the image of Queen Elizabeth I widely reproduced in charters of the time. As there are two babies in the scene, it could be argued that this represents Herod and the Massacre of the Innocents instead of Solomon. In that case, a Catholic artist may have played with the image of the protestant Queen Elizabeth I, the enemy, as the former, known for his cruelty.