An Italian pietre dure plaque, Grand Ducal Workshops, Florence, 17th century

of rectangular form depicting two birds on fruiting branches and a butterfly on a paragone di Fiandra ground within a rectangular ebony and lapis lazuli veneered frame with projecting corners

The plaque is in good original condition, the frame in good condition, with small cracks and repairs to the lapis lazuli. Of very good quality and ready to be placed.
"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:
Anna Maria Giusti, Pietre Dure, Hardstone in Furniture and Decorations, London, 1992, plate 26, p. 49, plate 34, p. 59, plate 37, p. 61.  
Anna Maria Massinelli, The Gilbert Collection, Hardstones, London, 2000, pp. 36-37 38-39.

This Florentine plaque is striking not only for its large size but also for the combination of pietre dure within a lapis lazuli and ebony frame which are both rare and luxurious materials.

The depiction of a bird on a fruiting branch in hardstones is typical of plaques produced by the Grand Ducal Workshops in Florence in the seventeenth century. The subject matter was almost certainly inspired by drawings by Iacopo Ligozzi  (c.1547-1627), who was Medici court painter and director of the Galleria del Lavori in Florence. See Giusti, op. cit., plate 26, p. 48, for a watercolour by him of a bird of paradise, (Gabinetto dei Disegni e Stampe, Uffizi, Florence). Furthermore, Giusti illustrates op. cit., p. 48, plate 35, a table top with pietre dure commesso of a parrot and flowers on a paragone ground produced by  the Grand Ducal Workshops after a design attributed to Iacopo Ligozzi, circa 1610-20 (Museo degli Argenti, Palazzo Pitti, Florence). A cabinet with a  view of Villa La Petraia in ebony with related bird pietre dure panels from the Grand Ducal Workshops, circa 1610-20, is illustrated by Giusti op. cit., p. 61, plate 37 (Palazzo Vecchio, Quartieri Monumentai , Florence.). It is worthwhile noting that according to Giusti, op. cit., p. 79, `..both at court and among other highly-placed patrons the most appreciated designs were the floral ones on a ground of paragone di Fiandra and ones showing birds'.

These plaques were popular with Grand Tourists and John Evelyn brought nineteen plaques back from Florence to England and had a cabinet made in England to display them. Several plaques with birds and butterflies, although later in date than the offered example, can be seen on the Badminton Cabinet commissioned by the 3rd Duke of Beaufort from the Opificio delle pietre dure in 1726, and in his extensive note when the cabinet appeared for sale in 2004, Alvar González-Palacios states that a paper label with Bacco Cappelli's signature was found on two of the pietre dure panels on the cabinet and he states `.. . it was common practice at the Galleria to keep aside pietra dura embellishments and panels to be used or sold at a convenient date, or to be incorporated in new objects or furnishings'.