The remounted verre églomisé panels, 19th century. Raised on a later stand. The cabinet with a stepped, molded cornice re-mounted with an ormolu border above an arrangement of four long and six small paneled and glazed drawers, flanking a central cupboard door opening to reveal an architectural interior decorated in the manner of Berain, backed with a later mirror and verre églomisé panels; all the panels mounted with 19th century lacquered paper decorated with chinoiserie motifs, incorporating birds, figures, animals and trees; each glazed panel with traces of the original 17th century verre églomisé, mother-of-pearl and aventurine decoration; the associated stand with two verre églomisé tapered supports surmounted by a gilt-metal male term figure and joined by a platform stretcher with a verre églomisé panel.

5 ft. 10 in. x 43 1/4 x 18 in.

Sotheby's catalogue note: The carcass of the cabinet is of late 17th century origin, the lacquered paper panels of the drawers, the sides and the lower back are of 19th century origin, made to recreate the effect of the original 17th century verre églomisé decoration amidst areas glued with mother-of-pearl and aventurine, only traces of which remain on the original thick glass. The designs, however, faithfully follow the originals. The gilt-metal decoration was most probably added at the same time in the 19th century.

The European taste for chinoiserie ornament developed from the mid 17th century. Around 1644, the Dutch sent a mission to China for trade and diplomatic purposes; this mission included Johann Neuhoff who acted as steward to the ambassadors. Neuhoff executed copious sketches during his stay in China which, upon his return to Holland, were converted to a celebrated series of engravings in the book Het Gezantschap der Neerlandtsche Oost-Indische Compagnie, published in 1665 in Leyden. A number of the panels decorating the present cabinet are based upon Neuhoff's engravings; these include the coconut palm tree on the central door; the elephant on the large side panel on the right; the rhinoceros on the same right-side panel, and the Chinese woman on the top left small drawer. The scene of the fighting dragon and the tiger on the right panel of the stand is derived from Anthanasius Kircher's China monumentis qua sacris qua profanis..., Amsterdam, 1667, p. 171.

In the 19th century there was a great revival of interest in Boulle-type furniture, and it was highly prized by collectors. The English dealer Edward Holmes Baldock who counted amongst his clients King George IV and the Duke of Buccleuch was certainly involved in the restoration and reconstruction of old Boulle-type furniture to which he would add his own distinctive gilt-metal mounts such as the acanthus leaf-cast molding on the present piece. The possibility that this piece was restored and recreated in the 19th century in England reinforces the possibility that it had been in the collections of the Dukes of Westminster.

COCO CHANEL (1883-1971): The legendary Coco Chanel was well-known to have a passion for Chinese art: "There's something compelling and irrevocable about it that appealed to me. Screens were the first thing that I ever bought. You don't come across them in the provinces of course. I'd never seen anything like it. The people I know were more likely to buy a store-cupboard for sheet dried in the sun." (Claude Baillen, Chanel-Solitaire, 1971).

In her apartment on the rue Cambon in Paris, Coco Chanel amassed an eclectic and elegant collection of furniture, crystal chandeliers and no less than 32 Asian lacquer screens. She never actually slept in her apartment, preferring her suite at the Ritz Hotel, but she used it as her base where she would hold court and entertain her illustrious friends and clients. She has a long friendship with the Duke of Westminster who reputedly gave her the present cabinet. 

In 1939 Chanel moved to Lausanne, Switzerland abandoning haute couture and she took the present cabinet with her where, it was later acquired by the Paris dealer Kugel.

In good overall condition, with scattered age splits and losses to the veneer of the carcass and the lacquer to the verre eglomise panels. Scattered minor losses throughout, including a small loss to the back left cornice. Scattered chips to the ebony veneer.  An age crack to the interior mirror plate, with expected nicks and wear throughout. Missing a few nails to the ormolu borders. An old repair to the back lower left ebony stand. The drawers slide well. Scattered buckling to the black lacquer paper on the verre eglomise panels. With one key and an extra handle. Structurally sound and of fine quality.

Notwithstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.