An Italian mother of pearl inlaid polychrome lacquered and parcel-gilt chinoiserie panel, Venetian, first half 18th century

depicting various figures in a landscape, in the foreground seated figures, the central one with a parasol about to board a gondola, the background with a jetty with two figures and with pagodas and huntsmen, on an ebonised ground within parcel-gilt moulded borders

In overall good conserved condition. Some very minor areas of losses, chips and wear to the sky section as visible from the catalogue photograph with some minor retouching. There are some hairline construction cracks commensurate with age but these do not detract from the piece. Evidence of old minor worm which appears to be no longer active and some of the worm has been plugged at the rear.
"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:
Alvar González-Palacios, Il Tempio del Gusto, Milan, 1986, pp. 334-335, plates 711, 714, 715, 716, p. 338, plate 723.
Edi Baccheschi, Mobili Laccati del Settecento Veneziano, Milan, 1966, p. 116-117.
Saul Levy, Il Mobile Veneziano del Settecento, Vol. II, Milan, 1964, Tav. 268. G. Morazzoni, Il Mobile Veneziano del'700, Milan, 1958, Tav. CCXL.

This extremely rare and richly decorated charming panel, together with the following lot, lacquered black to simulate ebony is further enhanced by the contrasting inlay of shimmering mother-of-pearl, a feature often found on Venetian furniture in the 17^th and 18^th centuries. Venice was at the forefront in the lacquer technique and the combination of lacquer imitating wood and with mother-of pearl inlay, although far less colourful than the present panels, can be seen on furniture illustrated by Alvar González-Palacios, op. cit., pp. 334-335, plates 711, 714, 715, 716, (for an armchair, frame and calendar).

Furniture embellished in this technique became a speciality of Venice, which is demonstrated by the documented oeuvre of various artists. The renowned architect and carver Domenico Rossetti (1650-1736), for instance, executed a dazzling interior with this decoration 'Una stanza nella casa di Angelo Nicolosi cancellier grande, con diversi lavori alla chinese, vernici, intagli e rimessi di madreperla: opera mirabile per la Rarità dell'invenzione e della esecuzione' (D. Zannandreis, Le vite dei pittori scultori e architetti Veronesi, ed. G. Biadego, Verona, 1891).

1891, p. 349).

The offered panel may well have been conceived as decorative panel in its own right or as a table top. What is intriguing is that although the scene is meant to depict an Oriental landscape with figures, the costumes and even the larger boat, possibly a gondola, are European. Furthermore, the panel represents the Western fascination for the captivating products of the Orient, widely disemminated through Venice's extensive trade contacts with the East. There was huge demand for Chinese and Japanese screens and objects in Europe in the 17th and 18th centuries and to satisfy this increasing demand European lacquerworkers developed a technique known as japanning which imitated the European lacquer. The mother-of-pearl inlay is also reminiscent of Chinese furniture and Japanese Namban cabinets.

The panel may well take its inspiration from printed sources widely disseminated during the first quarter of the 18th century, which may have included Paul Decker's (1677-1713) pattern book,`Camin, Tabacks, Büchsen and Tischblatt Modelle', a German architect and ornamental designer for goldsmiths' work, glass engraving and lacquerwork who plagiarised a number of Jan Neuhof's engravings. The source for many of these chinoiserie designs was Jan Neuhof's illustrated account of the first Dutch East-Indies embassy to China published in Amsterdam in 1655 (Het Gezantschap der Neêrlandtsche Oost-Indische Compagnie).

It is rare to find pieces in this combination of lacquer and mother-of-pearl, but it is worthwhile noting a Venetian lacquer console table, one of a pair, similarly decorated with chinoiseries and inlaid in mother-of-pearl, dating to the third quarter of the 18^th century, now in the Kunsthistorisches Museum, Vienna, illustrated by A.G.P. op. cit., plates 716 and 717, the top of which is reproduced in fig.1, p. 52. A.G.P. also illustrates op. cit., p. 328, plate 723, a mirror in this technique in lacquer and mother-of-pearl.