Queen Anne Period Chinoiserie Cabinet on Stand, England, circa 1710

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About the Item

Queen Anne period chinoiserie cabinet on stand, England, circa 1710. This handsome cabinet showcases the taste for Oriental exoticism that began during the 1600s amongst the aristocratic classes in Europe. The entire cabinet and stand are painted deepest black in order to simulate the colour of imported ebony while then being decorated with raised figures and scenes in gold and colour in true chinoiserie where the scene is built up using gesso that could be moulded to create a sculptural effect before being gilded and painted. Because the art of chinoiserie was quite challenging to achieve in England at this time a similar technique known as "japanning" has also been employed with the major difference being that the decoration is applied directly to the ebonized surface without any raised effect. It is important to remember that all interiors were lighted using blazing fires in open hearths as well as a multitude of candles so the reflective capacity of furniture surfaces was of paramount importance. In this cabinet the luxury quotient lies in both the decorative finish as well as the elaborate quality of the construction. The top surface of the cabinet is defined by the pierced border of gilded wood that extends across the front and sides. Their are six finials set across the top that secure the six sections of gilded pierce work and each section has a scalloped profile to its top edge that echoes the curved profile of the Queen Anne pad foot legs. The gleaming reflection of the golden finish defines the top edge visually and repeats the golden highlights seen elsewhere in the decoration. Interestingly the height of this cabinet was a deliberate choice as the top was used as a platform for the display of a boldly scaled pair of ceramic pieces which could have been a pair of large temple jars or a collection of charger sized platters or even a garniture of porcelain consisting of five separate pieces. The cabinet was always designed to be seen from the front and sides as it features a decorated appearance from these directions. The top is framed by six turned columns - four columns across the facade with a column set in the back left and right corner. The symmetry of the columns frame the drawers across the front as well as the chinoiserie style decoration on the side panels. Between the columns across the front is a centre section with an arched crown. Set within the arch and slightly recessed are a pair of doors that when opened reveal a storage space backed with the original mirror glass. There are two shelves inside this space for display. The significance of the use of mirror in what is essentially a hidden space must be noted as it reveals the expense the original client was willing to incur to create a very particular effect. The pair of doors would always have been kept locked and only opened when the owner wanted to show the most rare and valuable pieces in the collection. This meant the majority of the time these fabulous possessions were hidden away as were the other objects stored in the variety of drawers in this cabinet. Please notice the intriguing manner in which the drawers in the cabinet have been arranged. The two lower drawers being the largest extend across the entire front and form the base of the upper section. In the centre below the pair of doors behind the arch is a single drawer with the columns mounted atop. In the left and right sections the drawers are set between the columns with some being recessed. All of the drawers are affixed with brass pulls and individually decorated. When seen in natural light the cabinet must have appeared to dance with the points of gold and colour picked out by the flames of a fire and candle light. The cabinet stands upon its original base (we have provided a photograph to show the early 18th century joinery). The four legs possess a marvelous theatrical presence as each leg's profile has a dramatic curve with a rounded profile that terminates in a pad foot characteristic of the Queen Anne period. The front and side aprons also possess a shaped and curved apron that flows forward away from the upper cabinet giving a wonderfully cushioned impression. One of the most revealing aspects of this entire cabinet is the black paint used to cover the timber. It is a flat black paint chosen to absorb light and provide a contrast to the highly polished decoration. In addition it was used to cover all the separate pieces of timber needed to create the profile of the cabinet. It is possible, upon close inspection, to see the lines where the timber was joined before being carved into its present form. Of course the reason for the separate base and cabinet was ease of movement and transport which still holds true today. This impressive example of early eighteenth century English design remains visually powerful and desirable for a 21st century interior.

Dimensions:
Height: 61 in (154.94 cm)Width: 51 in (129.54 cm)Depth: 20 in (50.8 cm)
Materials and Techniques:
Lacquer,Mirror,Paint,Wood,Gilt
Place of Origin:
England
Period:
18th Century and Earlier
Date of Manufacture:
circa 1710
Condition:
Wear consistent with age and use.
Seller Location:
Houston, TX
Reference Number:
Seller: MAJD841stDibs: LU86681308248

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