Y TWO IVORY INLAID EBONY PANELS FROM A TABLE CABINET OR STUDIOLO, ATTRIBUTED TO GIORGIO TEDESCO

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Y TWO IVORY INLAID EBONY PANELS FROM A TABLE CABINET OR STUDIOLO ATTRIBUTED TO GIORGIO TEDESCO AND GIULIO LUPI FOR THE DUKE OF URBINO, CIRCA 1599The decoration in the form of entwined oak branches, leaves and acorns, repurposed and rebackedThe large side panel- 52.5cm x 33.3cm The smaller single rectangular panel- 10.2cm x 44cm Together with two later 19th century panels similarly decorated61cm x11.5cm and 57.5cm x 11.8cmProvenance: The first two panels from a suite originally commissioned by the Duke of Urbino, Francesco Maria II della Rovere (1549-1631) at Casteldurante, likely dispersed after 1631 though possibly remaining with his granddaughter Vittoria della Rovere (1622-1694) in Florence. The panels, veneered in Mozambique ebony and inlaid with engraved ivory in the form of entwined oak branches - an emblem of the Rovere family, are likely fragments from a small cabinet, or `studioletti' that was part of a suite of furniture made in the 1590s for Francesco Maria II della Rovere (1549 - 1631), Duke of Urbino, possibly to celebrate the marriage in 1599 between the Duke and his cousin Livia della Rovere.The suite comprised a studiolo (writing-cabinet with a fall-front), three further cabinets of different form and decreasing size, and a table, some panels additionally displaying the della Rovere family arms, and can be attributed to the cabinet-maker Maestro Giorgio Tedesco and ivory carver Giulio Lupi. Both are little-known but their names recur together and separately in the Duke's notes of expenditure and in della Rovere inventories between 1596 and 1599, including in reference to ebony cabinets and decoration of ivory or foliage. The upper part of the studiolo is in the collection of the Galleria Nazionale della Marche, Urbino, while the lower part, a credenza with doors, reappeared in 1951 (as the upper section of a cabinet, the base of which was of later date though inlaid in a similar manner) and is in a private collection. The two parts were reunited briefly in 2019 when the credenza was loaned to the Galleria.The companion table was rediscovered in 2010 when it was offered for sale at Sotheby's, London, allowing for comprehensive study and attribution to Tedsco and Lupi. Meanwhile the other three cabinets were dismantled, at least two by 1667,and the panels used in the construction of new pieces of furniture, one a prie-dieu, now acquired by the Galleria Nazionale della Marche, which incorporates panels from the second and third-sized cabinets, and another storage case or possibly a stand for a `silver fountain' - probably a holy water stoop.The large panel offered here has been cut through and reduced in size while the long `single-panel' has been extended - the central `pontil' mark suggests this panel originally formed a drawer front. The two `double-panels' included here are likely elements from the later-constructed base of the credenza, or perhaps from some other creation made to incorporate panels from the original suite. All have been re-backed (possibly using poplar).The history of the suite was described in detail by Mario Tavella `A set of ebony and ivory inlaid furniture for the Duke of Urbino', The Burlington Magazine, 164, June 2022, pp. 546 - 557. Please note, Dreweatts have applied for a de minimis exemption certificate for the ivory for the 16th century panels (Ref: GGA8Z95T)Please note, Dreweatts have applied for a de minimis exemption certificate for the ivory for the 19th century panels (Ref:A5498PKN) ϒ Indicates that this lot may be subject to CITES regulations when exported. The import of lots that are subject to CITES regulations are banned in certain countries. Please check your country's import regulations before bidding. For further details on CITES regulations www.gov.uk/guidance/cites-imports-and-exports.

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