An Italian Baroque gilt, red and black-japanned bureau cabinet Venice, first half 18th century

Foster Gwin, 1994
Mallet, London

Saul Levy, Lacche Veneziane Settecentesche, Vol. 1, Milan, 1967, fig. 160-161 (illustrated) 

With scattered age and construction cracks, dents and abrasions. Decoration with scattered scuffs, abrasions and losses; most restored. Areas of restoration and refreshed decoration in areas throughout. Interior of drawers mostly redecorated. Mirror plates with foxing. Escutcheon of door associated. Feet probably later. In good overall 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.

Venice was one of the most important centers for lacquerwork throughout the eighteenth century. Being a major cultural and economic hub, the city had both the financial and artistic resources to produce some of the most lavish and expressive japanned pieces in Europe. As a result, trade in Venetian lacquer was very active as early as the mid 1600s. Initially, as with most European lacquer manufacturers, Venetian laccatori aimed to imitate oriental lacquered works by using a local recipe of varnish that had been invented by Father Coronelli (1659-1702), the official cosmographer of La Serenissima. Differences among various European lacquer manufacturers' formulas included coloring and the thickness of the varnish, among others. Whereas laccatori in other Italian states tended to work with fixed color palettes, a limited number of forms and designs, their Venetian counterparts executed their pieces in a wide range of hues, shapes and even used mixed-techniques that sometimes resulted in the creation of new legitimate artforms, such as lacca povera. The inventivness of Venetian laccatori is clearly reflected in the present bureau cabinet. Being a product of the first half of the eighteenth century, the piece is Baroque in overall form and function, but the concave sides of the base and the middle section containing the fall front are more in the coming Rococo idiom. The unusual pagoda top of the upper section, along with the gracefully curved sides of the lower section and the inclusion of oriental scenes, make this work "alla cinese" not only in decoration but also in shape.