Hans Miedler Session 192 Edit

Fine, Dutch Cylinder Desk

Last 3rd of the 19th Century

An extra­or­di­nary Cylin­der Bureau”, elab­o­rate­ly exe­cut­ed in the style of the sec­ond half of the 17th cen­tu­ry.

The small desk cap­ti­vates with its extreme­ly fine mar­quetry in the form of leaves and flow­ers, which are exe­cut­ed in a wide vari­ety of exot­ic woods, as well as the orna­men­ta­tion in ivory and ebony on oak.

The four con­i­cal­ly shaped legs, each cen­tered by a rib­bon, are inlaid with leaves and flow­ers all around. The feet and upper part of the legs are each embell­ished with real gold-leaf orna­ments. The mul­ti­ple curved cross joint comes with rich mar­quetry, exe­cut­ed in ivory and ebony dec­o­ra­tion at the edges.

Above the feet is a frieze with mar­quetry all around and a main draw­er with a lock and a fine­ly chis­eled key. The top has a beau­ti­ful­ly mar­quetry medal­lion in the mid­dle, sur­round­ed by thread inlays and a leaf and gar­land frieze, which con­ceals two small com­part­ments and four drawers.

The writ­ing sur­face comes with an Alcan­tara cov­er. The two side walls of the writ­ing com­part­ment are each dec­o­rat­ed with large leaves and flow­ers. Above the writ­ing com­part­ment we find two com­part­ments with rich intar­sia and sur­round­ing ivory decoration.

The back walls of the com­part­ments have each a mas­caron in the mid­dle, smil­ing at you in a friend­ly man­ner when sit­ting at the desk.

It is an excep­tion­al piece of fur­ni­ture, mas­ter­ful­ly inlaid, which, as Christo­pher Payne states in his book, is aligned with the fur­ni­ture of the 17th and 18th cen­turies in terms of design and quality.


We find a com­pa­ra­ble elab­o­rate­ly exe­cut­ed table in Christo­pher Payne Euro­pean Fur­ni­ture of the 19th Cen­tu­ry, Flan­ders Table” p. 498 fig. 1 and 509 fig. 2

Where he explains:

Based on the Antwerp style of the late sev­en­teenth cen­tu­ry, there must have been con­sid­er­able trade between the Dutch ports and Lon­don traders from the 1830s onwards. Sim­i­lar tables can be seen in the great hous­es of Eng­land and Scot­land, some brand­ed EHB”, the ini­tials of Lon­don antique deal­er Edward Holmes Bal­dock. 3014 high; 51/ wide; 30h deep; (77 × 131.5 × 77.5cm) c. 1840

Antwerp fur­ni­ture mak­ers and mar­quetry work­ers gained an envi­able rep­u­ta­tion for their intri­cate cab­i­nets inlaid with tor­toise shell with red foil back­ing to enhance the col­or of the shell. In the late six­teenth and ear­ly sev­en­teenth cen­turies their influ­ence was wide­spread through­out Europe, par­tic­u­lar­ly in Italy, and many Flem­ish migrant work­ers applied their art to north­ern Italy and south­ern Ger­many, mix­ing styles some­what and thus blur­ring the exact prove­nance of many pieces. This mix of styles became even more intense in the eclec­tic nine­teenth cen­tu­ry. One of the most promi­nent of these migrant work­ers was Leonar­do Van der Vinne from Antwerp, who worked in Flo­rence in the late 17th cen­tu­ry. Its sim­ple inlaid foliage is often repeat­ed in the ebonized inlays from Milan in the sec­ond half of the nine­teenth cen­tu­ry. Cer­tain Span­ish pieces can be found with ivory and ebony band­ing, sim­i­lar to the mir­ror below, which was prob­a­bly brought to Antwerp by the Span­ish, who acquired the tech­nique from their Moor­ish con­querors and brought cer­tain aspects of the Mudé­jar style to north­ern Europe. These pieces reflect the style of the late sev­en­teenth cen­tu­ry but are nine­teenth-cen­tu­ry copies.”

Hans Miedler Session 198
Dutch Cylinder Writing Desk
Hans Miedler Session 220 Edit
Hans Miedler Session 248 Edit
Hans Miedler Session 212 Edit
Hans Miedler Session 253 Edit
Hans Miedler Session 218 Edit
IMG 8522 2