A Flemish gilt-brass-mounted, bone-inlaid, ebony, ebonised and tortoiseshell cabinet-on-stand, Antwerp the cabinet second half 17th century, the stand 19th century

the rectangular moulded top with later mirrored and balustraded gallery and urn finials above an architectural facade with ten drawers arranged around a central pair of cupboard doors enclosing a fitted arcaded interior with trompe l'oeil parquetry and painted scenes, above a slide, the sides decorated with bone inlaid geometric motifs, on a stand with a frieze drawer, on spirally turned legs and bun feet; the painted scenes to the interior possibly later

In overall good condition. There has possibly been some alteration to the center of the arched cresting. There are some minor sections of replacements to the veneer to the sides. Old minor marks, chips and scratches throughout consistent with age and use. An attractive piece.
"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."

Comparative Literature:
Thibaut Wolvesperges, Le Meuble en Belgique, Belgian Furniture 1500-1800, Brussels, 2000, p. 121, no. 23.

Antwerp tortoiseshell cabinets such as the present example, of monumental architecural form were usually designed by merchants who then sold them on to clients and first appeared around 1600. They became very popular throughout Europe in the 17th century and Cardinal Mazarin possessed no less than four according to the inventory of 1653. A network of agents in Paris, Vienna and Munich such as the Forchondts, Masons and Peter Van Haecht supplied these cabinets which had been commissioned from cabinet-makers such as Michel Berbirt, Dirk Topts and Nicolas Verbert. The gilt-metal, silver and gilt-bronze mounts were also supplied by metals workers such as Moermans and Somers.

These cabinets would have been extremely expensive at the time they were made incorporating exotic materials and would have been commissioned for one of the stately rooms of a grand residence symbolising the owner's wealth and privilege. They would have been used for storing precious objects such as coins, medals, jewellery and private correspondence. The repoussé gilt-brasss mounts are also typical of these Antwerp cabinets as is the form with a balustraded gallery above two doors flanked by  solomonic colums.