Satinwood, marquetry, lacquer inset & gilt-bronze mounted side cabinets

A superb pair of neoclassical satinwood, marquetry, lacquer inset and gilt-bronze mounted side cabinets possibly by Matthijs Horrix (1735–1809)
The Hague. Last Quarter Of The Eighteenth Century.
Measurements
Height: 34 3/4" (88 cm); Width: 28 1/2" (72.4 cm); Depth: 16 1/4" (41 cm)

Research:
Of satinwood, mixed woods, lacquer and gilt-bronze. Each of rectangular form with chamfered front corners. A pierced gallery above a frieze drawer with paired gilt bronze knobs, one cabinet frieze drawers with side panels of lacquer and central marquetry panel, the other with side panels of marquetry and central lacquer panel. Each cabinet with a single three-panel hinged door framed by gilt-brass beading and flowerheads; one door comprised of a central panel with lacquer motif and two side panels in marquetry, the other having a central panel with marquetry motif and side panels of lacquer. Each opening to reveal an interior fitted with three shelves. The whole raised on tapering square legs on a brass bun foot.

This exquisitely detailed pair of satinwood, lacquer and marquetry gilt-bronze mounted cabinets is a superb example of a specifically Dutch type of Neoclassical period furniture.

This small group possibly originated in the workshop of Court Ebeniste Matthijs Horrix (1735–1809) in The Hague, with its very first examples having been supplied to his royal client, Princess Wilhelmina of Prussia, Consort of Stadtholder Prince William V. Princess Wilhelmina purchased expensive items of luxury furniture from Horrix almost every year and Horrix continued to deliver to the court until circa 1795. This included a substantial order in 1780 of two commodes, “for which Chinese lacquer has been supplied to him” by the princess herself, and for which a large sum was paid; “this is the earliest known mention of the popular Dutch Neoclassical furniture inlaid with panels of oriental, usually Japanese lacquer.”

The cabinets are differentiated in a number of interesting aspects. Most notably, while being a true pair, they contain differing formations to the marquetry detailing and positioning of the black lacquer insets; in essence, the play between the arrangement of lacquer and marquetry is reversed – on one cabinet the door is centered by marquetry motif and on the other is lacquer. The same reversal is true of the flanking panels and single frieze drawer.

The marquetry decoration is highly notable, employing intricate and unusual geometry. The design centering the doors is formed as an eight-sided motif folded as a striped ribbon, while runs of inlaid square link-chain motif in contrasting ebony and boxwood affords a strikingly contemporary effect. Also notable are the geometric pierced galleries of repeating circles; while occasional examples feature a solid veneered gallery, the treatment here is extremely uncommon.

Full research report available on request.