A North German polychrome decorated leather six-fold screen, mid-18th century

painted with chinoiserie decoration of flowers and figures in lozenge shaped reserves, on a black ground, damage

A highly decorative screen in 'country house' condition. There are numerous tears to the leather surface and the screen would generally benefit from restoration according to taste.
"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."

The charming chinoiserie decoration on this screen reflects the great enthusiasm in Europe for oriental wares from the second half of the 17th century. Its decoration of figures and pavilions in strap-work vignettes in a palette of vibrant colours with rich gold heightening on a dark ground is an attempt to imitate Chinese Coromandel lacquer screens. The Chinese lacquer screens were expensive and highly sought after and European craftsmen started to imitate them in their own 'chinoiserie style', such as the present example, which has distinctly European motifs including a border depicting luxuriant foliate displays some of which are placed in twin handled urns.

A Dutchman Jan Nieuhof, following an ambassadorial visit to China, produced a series of drawings which were made into engravings and subsequently published in 1669. In the 17th century, Berlin was the foremost lacquer centre in Germany followed by Dresden. The leading lacquermaster  there was Martin Schnell, who had worked in the workshop of Gérard Dagly a leading lacquermaster, in around 1703.

Another Dresden lacquermaster was Christian Reinow listed as employed by the Court in 1717. He is known to have worked for Augustus the Strong's Green Vault of the Treasure House. Furthermore at Schloss Nymphenburg, Max III Joseph (1745-1777), Max Emmanuel's grandson, had a corner room refurbished with Coromandel screens and they were supplemented by lacquer panels executed by Johannes Georg Höringer.