AN IMPORTANT PAIR OF MARQUETRY-INLAID SATINWOOD, HAREWOOD AND EBONY DEMI-LUNE COMMODES ATTRIBUTED TO MAYHEW AND INCE circa 1780

each of demi-lune form, the tops veneered in figured satinwood, the back edge plainly banded to support a pier mirror, and with a fan shaped patera inlaid with amaranth fluting and issuing colored and engraved 'feathers ' from a pearl beaded inlaid border, the cross-cut  satinwood molded outer edge with ebony and colored stringing and kingwood cross-banding and bordered with berries and husks, the conforming frieze with a central drawer flanked by pivoting hinged drawers and inlaid with 'bats wing' half- patera centered by flower heads below arched foliate sprays, all on a sycamore ground, the four graduated drawers below with ebony cock-beading and alternately inlaid with swags of husks and drapery and with pendant husks, the original gilt-metal ring  handles cast with husks and with flower-head back-plates, each curved door at the side inlaid at the center with a flower head within a bats' wing oval patera within a foliate scrolls, on a figured sycamore ground banded with tulip wood and with colored stringing, opening to shelves, the base with an ebonized molded edge, the square tapered legs veneered with harewood panels edged with boxwood and colored stringing and with ebony moldings.



Although of identical construction and decoration, the difference in the width of these commodes indicate that they were originally commissioned at the same time for a room with different overall proportions.

The Collection of Mrs. Thomas Ewing Jr.

French and English Art Treasures of the XVIII Century Loan Exhibition in aid of the American Women's Voluntary Service, Parke-Bernet Galleries, New York, December 20-30, 1942

Antiques Magazine, December 1943, editorial, illustrated

Extremely good quality, beautiful color and good proportion; the marquetry stable and in good condition; overall in very good restored condition; some handles slightly loose and some with later nuts; each cupboard door with a later spring-loaded catch to the underside edge; although of identical construction and decoration, the difference in the width of these commodes indicates that they were originally commissioned at the same time for a room with different overall proportions. The first commode (smaller in width) with two small patches and inpainting to the marquetry medallion on the top; sun fading to banding at back; inpainted age cracks to marquetry panels of the cupboard doors; and with age cracks to the interior sides of the cupboard doors; one small loss to the veneer of cross-banding on the left door; the right cupboard door with inpainting to the bottom left corner and with a small patch above te keyhole escutcheon; three keyhole escutcheons later; some small patches to the veneers of the block feet with minor inpainting; horizontal age cracks to the backs of the drawer fronts of the bottom three drawers; minor vertical age cracks to the veneers of the drawer fronts; The other commode with a thin triangular fillet patch to the top on the left along veneer join as can be seen in the catalogue illustration; two small replacements to the cross-cut molded edge; the cupboard doors with inpainted age cracks to the panels and with age cracks to the interior sides; the right cupboard door with an inpainted repaired breaks above the top hinge; bottom drawer with a replaced section to the ebony cock-beading of the left side approximately 4 1/2 inches in length; horizontal age cracks to the back of the drawer front of the drawer above the bottom drawer; minor vertical age cracks to the veneers of the drawer fronts; the block feet with minor patches and inpainting to the veneers; overall with some old marks, scratches, minor scuffs and bruises consistent with age and use.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The marquetry inlay of variously colored and engraved woods, solid ebony cock-beading to the drawers and the ebonized mahogany of the larger moldings as seen on this pair of commodes are all well-documented features of the work of the London cabinet makers, John Mayhew and William Ince, whose partnership is described in The Dictionary of English Furniture Makers 1660-1840 as 'one of the most significant, probably the longest lived but, as far as identified furniture is concerned, the least well documented of any of the major London cabinetmakers of the 18^th century'.

Mayhew was originally apprenticed to William Bradshaw, the upholsterer, of Soho Square, and Ince apprenticed to John West of Covent Garden from 1752 until West's death in 1758.  In November of that year West's premises were taken over by Samuel Norman, James Whittle and John Mayhew. However, in December of 1758 a partnership solely between Mayhew and Ince was formed, the two purchasing the business and stock of Charles Smith of Carnaby Street.  Initially describing themselves as 'cabinet makers, carvers and upholders', this was variously amended over the term of the partnership to include such terms as 'dealers in plate glass', the categories of 'cabinet maker' and 'upholsterer', however, remaining constant. As Beard and Gilbert remark in The Dictionary of Furniture Makers 1660-1840, 'These revisions no doubt reflect the change in taste from carved to veneered and inlaid furniture characteristic of the period 1760-1780', as seen in the present commodes; this change is also indicated by the relative failure of their Universal System of Household Furniture, which only appeared in one edition in 1762, its rococo designs becoming somewhat old-fashioned.  Beard and Gilbert (op. cit) further note that the partnership was in particular 'highly proficient and adventurous'... in... 'the use of marquetry, distinguished by a variety of techniques and pointing to a significant number of specialist marqueteurs in the firm's employ'.

The firm is also noted for their use of ormolu mounts on their more important cabinet-work, many of which were presumably obtained from brass-founders in Soho, their relationship with Boulton and Fothergill being documented, such as their joint involvement over the commission of the Duchess of Manchester's cabinet.  Many of these are of individual design, such as the handles found on the present commodes, variations of which appear on other pieces either from or attributed to their workshop.  The size of their extensive business by 1768 is indicated by an advertisement in the Public Advertiser, the partnership appealing for 'upwards of 100 Men, Cabinet-makers, Chair-makers, and some very good Joyners who will be immediately employed on the best Work' and for 'Some Men who can do Inlaid Work in Woods &c and engrave and work in brass'.

The firm is recorded as working with the architect Robert Adam on several notable commissions, including Coventry House, Piccadilly and, Croome Court for the 6^th Earl of Coventry, Sherbourne Castle, Audley End and Derby House and Shelburne Castle.  Adam's influence is seen in 'their ability to produce very early on furniture in the most startling advanced Neo-classical taste is beyond doubt...and certainly owed much to their early collaboration with the country's leading Neo-classical architects'. (Beard and Gilbert, op. cit.)

A closely related commode, formerly one of a pair and also attributed to Mayhew and Ince, was with Messrs. Ronald Phillips Ltd. of London, being illustrated in their catalogue of May, 2006, item 24, p. 56.  Of slightly different proportions but of the same shape and configuration, its marquetry decoration has many similarities to the present commodes, although this is laid into a harewood ground. The Phillips commode is distinguished by ormolu mounts, the design of which can also be related to the documented work of Mayhew and Ince.