The double-domed leaf-tip carved cornice surmounted by a silvered foliate carved pierced cresting above a pair of arched mirror paneled doors, enclosing a fitted interior of variously sized drawers, the base fitted with a fall-front secretaire drawer enclosing a further fitted interior above three long graduated drawers on later bun feet, the whole decorated with fantastical scenes of figures bearing paddle fans, landscapes with pavilions and exotic birds and foliage on a faux nashiji lacquer ground, outer mirrored slips formerly with gilt lead divides and now with remnants of gilding
86 in. (218.4 cm.) high, 41³⁄₄ in. (106.1 cm.) wide, 21¹⁄₂ in. (54.6 cm.) deep, overall

The Collection of Carl and Lily Pforzheimer, Park Avenue, New York City.
Thence by descent to the present owners.

COMPARATIVE LITERATURE
P. Macquoid and R. Edwards, The Dictionary of English Furniture, 1924, vol. I, p. 123, fig. 11 (closed) and opposite p. 122 (open).
F. L. Hinckley, A Directory of Queen Anne, Early Georgian and Chippendale Furniture, New York, 1971, p. 161, fig. 240

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Lot Essay

THE ART OF JAPANNING
This richly decorated cabinet with its extraordinary lustrous japanned decoration in imitation of Japanese nashiji lacquer reflects the fashion for Asian ornament following the restoration of Charles II in 1660, when trade with the 'Far East' flourished. In order to keep up with the high demand, fine lacquered objects were imitated by local cabinetmakers and painters. Inspired by imported lacquer screens and chests, Messrs. Stalker and Parker published A Treatise of Japanning and Varnishing in 1688, which served as a guide or instructional manual of how to imitate the art form. In the introductory text to their guide, Stalker and Parker wrote: 'We have laid before you an Art very much admired by us, and all those who hold any commerce with the Inhabitants of JAPAN: but that Island not being able to furnish these parts with work of this kind, the English and Frenchmen endeavoured to imitate them; that by these means the Nobillity and Gentry might be completely furnisht with whole Setts of Japan-work...'

By the end of the 17th century, lacquered objects, particularly cabinets, had become 'status symbols' for Royalty and members of their inner circle. For example, when an inventory was taken in 1697 following Queen Mary's death, a number of furnishings in the Queen's bedchamber at Kensington Palace were decorated with 'india japan' which displayed her large collection of Oriental porcelain. This court fashion reached its height in the first few decades of the 18th century, at which time cabinet-makers such as Giles Grendey and John Belchier were producing elaborate case pieces. The rich 'red-Japan' ground conjured from 'Dragons-Blood' was particularly prized. Another double-dome cabinet with pierced scroll cresting exhibits similar landscape panels with feathery trees and figures bearing fans (see: F. L. Hinckley, 1971, p. 161, fig. 240).

A CONNECTION TO THE THE FRICK COLLECTION
The cabinet is virtually identical in the design of the cresting, the mirrored cabinet doors, and the overall japanned scheme to a kneehole bureau-cabinet currently on view in the Walnut Room of The Frick Collection, New York (loaned by the Frick Pittsburgh, Acc. No. 2024.15.03). Such close similarities suggest the cabinets were made in the same 17th century workshop.

The Frick's cabinet was acquired by Henry Clay Frick in 1914 through the fashionable decorator Elsie de Wolfe (later Lady Mendl) for his newly built New York mansion on One East 70th Street. Mr. Frick employed the firm of White and Allom to decorate the main floor of the house, and Elsie de Wolfe was entrusted with the decoration of virtually the entire second floor. This cabinet was appropriately placed in Mr. Frick's paneled bedroom, and after his death in 1931, it was moved to Eagle Rock, the family home in Pride's Crossing, Massachusetts.

Elsie de Wolfe acquired Mr. Frick's cabinet from Sir Sidney Robert Greville (1866-1927), who held various positions with the royal family including Groom-in-waiting to Edward VII and George V, as well as Comptroller and Treasurer to The Prince of Wales (1915-20). He was a younger son of Lady Anne Charteris and George Guy Greville, 4th Earl of Warwick, who himself served Queen Victoria. Indeed, an invoice from Elsie de Wolfe dated 14 October 1914 survives in the Frick archives, and lists this cabinet as a 'Very fine Queen Anne cabinet, red lacquer, purchased from Sir Sidney Greville, St. James Palace...£1,000 net $5,000'. The cabinet, as well as other purchases, is further mentioned in a letter from Sir Greville to Elsie de Wolfe dated 4 May 1914.

A GILDED AGE PROVENANCE
The present cabinet was acquired by Carl and Lily Pforzheimer, almost certainly in the early twentieth century, for their Manhattan residence on Park Avenue. Carl Howard Pforzheimer (1879-1957) was a prominent New York banker and curbstone broker, a founder of the American Stock Exchange, and one of Wall Street's leading specialists in Standard Oil stock, through which he amassed a considerable fortune. Beyond finance, he was a passionate bibliophile whose celebrated collection of rare books and manuscripts, the Carl H. Pforzheimer Collection of Shelley and His Circle, is now preserved at the New York Public Library. He and his wife founded the Carl and Lily Pforzheimer Foundation Inc., a philanthropic organization, which continues their philanthropic legacy today.

The cabinet was later moved to the family's country estate in Purchase, New York, a property designed by Carrère and Hastings, the architects also responsible for the Frick mansion on Fifth Avenue. The cabinet has subsequently remained in the Pforzheimer family to the present day.

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The condition of lots can vary widely and the nature of the lots sold means that they are unlikely to be in a perfect condition. Lots are sold in the condition they are in at the time of sale.

Deep cinnabar color with slight shimmering effect imitating Japanese nashiji lacquer. Well represented in the only photos. Presents well, structurally sound and ready to use. Beautiful interior to upper cabinets. Minor restoration to decoration, notably on raised areas and to gilt and silvered borders.
The mirror plates appear to be largely replaced although there is soft cutting to outer plates and oxidation and the central plates have a slightly wavy surface which may indicate that they have been re-silvered. Any replacement to the plates would have been executed prior to the early 20th century when this cabinet was last offered at Christie's it had been in the seller's family for two generations. There are slight differences as in the rendering and cutting of the motifs. Some cracks to outer slips, visible in online photographs, and notably on the left door upper left corner (very small piece) and lower border (left side of slip which has particularly oxidized as the plate is slightly loose); right door inside the upright with a wedge-shaped crack and internal cracking to some plates at the top. There is evidence of gilt-metal divides between the plates as was customary.
There are restorations to the gilded molded borders surrounding the plates. Right door with crack around key hole and silvered, chip to the upper left corner of right side mirror border.
The cresting appears to be later as stated in the cataloguing, and later silvered, some minor losses to the silvering. Restored breaks to the cornice. With some old restored cracks. The silvered molding cracked and with old infill.
The secretaire drawer with replaced hinges, does not open smoothly, with old shrinkage cracks to the writing surface. The top drawer is slightly fussy when closing due to the construction of the secretaire drawer. The drawer rests at an angle when closed and must be locked to remain upright. The brasses appear to be original and with wear to gilt lacquer and subsequent tarnishing. The drawers are slightly tight. Splits and separation to the rawer lining. Faint cracks and separation to the joins. Feet later. Wear to edges and some wear to the decoration on the sides of the waist molding. The interior largely in good condition. Restoration to the molding to the interior door panels due to slight shrinkage. A crack to the base of each interior door panel. The interior of the drawers decorated in a scarlet with spackled gilt surface. Slight variation to the color of the lacquer on the drawers but appears to be original. Signs of old wood worm, now inactive.
This piece has been compared directly to the example in the Metropolitan Museum of Art and it compares very favorably in its unusual surface and details, certainly by the same maker.

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