A South German Baroque brass and tortoiseshell-inlaid ebony ecclesiastical casket, circle of Guillielmus de Grof and Johann Puchwieser early 18th century

the escutcheon monogrammed EA 

Sold Sotheby's New York, November 20, 1993, lot 83

Tortoiseshell with scattered cracks, small losses and small restored areas. Brass with some lifting, buckling, losses and restorations. Some oxidation to brass. Small chips, abrasions and cracks to wood. 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.

Comparative Literature:
Heinrich Kreisel, Die Kunst des deutschen Moebels, vol. II, pp. 139-146; Die Moebel der Residenz in Muenchen, vol. II, Die deutschen Moebel des 16. bis 18. Jahrhunderts, by Brigitte Langer and Alexander Herzog von Wuerttemberg, p. 278, ill. 79, for a signed bureau attributed to Puchwieser; Hubert Glaser, Kurfuerst Max Emanuel. Bayern und Europa um 1700, Munich 1976, pp. 245-264.

Guillielmus de Grof started working for elector Max Emanuel in Paris in 1714. In spring 1716, de Grof came to Munich where he continued working until his death in 1742. At the Munich court, de Grof had the role of a metal worker, sources frequently mention him as the "Bleigiesser". He played an outstanding role among the court artists. De Grofs earliest known work is the monument of Max Emanuel on horseback dating from 1714, still executed in Paris, standing on a large base in Boulle marquetry, possibly by de Grof himself as he had developped the overall concept for the piece. As also other bronzes by the artist show Boulle bases or frames, it is assumed that de Grof entertained a workshop for this kind of furniture. Proovedly, de Grof delivered furniture with rich bronze mounts, for example a writing table for the Munich residence in 1722. During the times of elector Max Emanuel, Boulle furniture was most popular, in accordance with the electors taste. Already from 1680 on, Max Emanuel purchased Boulle furniture from Augsburg. Spending decades in the Netherlands and in France, he in Paris directly got in touch with works of André Charles Boulle. Considering his preference for Boulle furniture, it is very likely that the elector also employed foreign artists at his residence. The Berchtesgaden castle possesses two gilt bronze reliefs by de Grof, dating around 1715, with depictions of Max Emanuel's victories over the Turcs. Both reliefs are framed in Boulle manner and probably originate from de Grofs workshop. Considering the great number of Boulle furniture from the elector's property, it is difficult to distinguish the different workshops. Boulle himself had worked for Max Emanuel and de Grof was once in service for Louis XIV and familiar with Boulle's work. During this period, above all the works of Jean Bérain or Daniel Marot served as models. In Munich, since 1703 there was located a "Galanterie und Clopaturkistler" named Johann Puchwieser, who is recorded in the payment lists with a salary of 250 guilders from 1719 on. The specification of his profession can only refer to the Boulle technique. Puchwieser was active until around 1745 and so already at a very early time continued the tradition of the Augsburg masters working for the Munich court.
The European taste for Chinoiserie ornament commenced around 1644, when the Dutch sent a diplomatic mission, with Johan Nieuhof as steward to the ambassadors, to China ostensibly for trade and diplomatic purposes although with a hidden undercurrent of missionary zeal. Neuhof published an account of his visit to China with accompanying engravings taken from his drawings. The European interpretation of Chinese ornament in the seventeenth and eighteenth centuries was somewhat distorted as the artisans and designers had practically never visited the country that they were depicting.