hinged drop-front opening to reveal nine drawers disguised as eleven, red stained ivory handles, reverse with simpler design featuring two bouquets in arabesque frame, on four short feet, with two keys

In generally good condition, most of ivory remaining, some of which are warped and slightly twisted, some with cracks and discoloration, the lock plate to drop front possibly replaced, oxidisation to hinges, two of the ivory handles to drawers missing and replaced (one with brass and one possibly wood, both painted red), minor areas of retouching to wood and ivory, one of the keys does not fit either lock, as viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Ivory-inlaid cabinets such as the present example were produced in two main centres, notably Gujarat and Sind, and emulated the Mughal courtly style. A particular favourite motif was the flower, much loved by the Emperor Akbar (r. 1556 - 1605), which developed into a recognised stylistic motif under the Emperors Jahangir (r. 1605 –1627) and Shah Jahan (r. 1628 - 1658) (A. Jaffer, Luxury Goods from India: The Art of the Indian Cabinet-Maker, Victoria and Albert Museum, 2002, no. 24, pp.62-3). Robert Skelton attributes the formal treatment of flowers to Jahangir’s stay in Kashmir in the spring of 1620 during which time he commissioned his court artist, Mansur, to record the floral and fauna around them. It has further been suggested that local Mughal artists may have also been inspired by European albums of flowers (ibid.).