A gilt-bronze mounted tulipwood, kingwood, amaranth, stained sycamore, burr walnut and parquetry commode stamped Hache fils à Grenoble third quarter 18th century

of bombé serpentine form, with a moulded Spanish portor marble top, above two long drawers centred by a roundel with laurel leaf swags within strapwork borders on a cube parquetry ground, with similarly inlaid sides, the stiles inlaid with stylised Greek key motif, on cabriole legs, terminating in scrolled feet

By repute the Comte de Paris, Quinta do Anjinho, Sintra and purchased by the present owner’s father from the sale of the Comte de Paris in Sintra in 1951.

For further information on the Provenance see the footnote to lot 221. 

Good colour match with the photograph.The mounts are slightly dirty and would benefit from a light clean according to taste. The marble top has been restored in several places which has been well executed and also along the rear edge. Internal lockplate missing from bottom drawer and some moulding missing from the top of the central section of this drawer. Minor sections of veneer missing and lifting but can easily be restored. Horizontal crack running across the left side when facing which requires restoration and there is a hairline vertical construction crack with some lifting of veneer towards the rear right stile. Very attractive detail to marquetry. There is a printed paper label on the wooden top beneath the marble of Hache. In need of some minor restoration but a very attractive piece and fine example of this celebrated maker and in otherwise good condition. Recommended.
"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."

Comparative Literature:
Pierre Rouge and François Rouge, Le génie des Hache, Dijon, 2005,  p. 308, no. 157 and p. 311, no. 160. 
Barbara Scott, `Infused with silken flowers,’ Country Life , March 26^th 1998, p. 100.

The Hache family was one of the most prolific dynasties of cabinet-makers in the 18th century. Jean-Francois Hache (1730-1796) was the son of Pierre Hache (1703-1776) and both father and son's oeuvre is characterised by the use of distinctive woods such as amaranth, birch, and maple as well as fruitwoods sometimes in bold marquetry cartouches with ebony inlay or ebonised banding with feather-banding veneer used to highly decorative effect. 

In 1756, Jean-Francois Hache spent several months in Paris and probably worked under the royal cabinet-maker Jean-Francois Oeben. The cube parquetry in a central reserve on this commode is very much characteristic of the style of Oeben and can be seen on another commode by Hache, illustrated by Rouge, op. cit., p. 311, fig. 160 (formerly in the collection Nolte, Munster). The mounts are also identical comprised of roundels encircled by a laurel wreath handles and ribbon-tied lockplates. These features together with the reserve in burr walnut the use of the stylised Greek key motif and exotic woods are typical of the period. The serpentine form of this commode with cabriole legs and the restrained neo-classical gilt-bronze mounts and the sinuous lines of the Louis XV époque slowly approaches the more sober outlines and motifs of the neoclassical in a successfully balanced compromise which explains the  persistence of this type of commode in the production of Jean-François Hache towards the end of the 1770s.

From around 1760, Jean-François Hache used his own personal stamp, `Hache fils à Grenoble’. As stated by Barbara Scott, when discussing the Hache dynasty op. cit., p. 100, `They had an exceptional eye for the grain and colour of different woods, contrasting richly figured boxwood with golden panels of tulipwood polished to shine like watered silk. Particular care was taken in staining woods, for which they had a secret recipe. Their celebrated light green was obtained from an infusion of chervil and parsley.’