- 18
A George III satinwood harewood and tulipwood marquetry demi-lune commode circa 1780
Estimate
70,000 - 100,000 GBP
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Description
- 89cm. high, 120cm. wide, 59cm. deep; 2ft. 11in., 3ft. 11¼in., 1ft. 11¼in.
the frieze with a drawer flanked by hinged compartments above a cupboard door enclosing a shelf, losses to marquetry tablet centering the top
Condition
Fair overall condition. Slight movment to the top which is not too obvious. The central tablet medallion to the top has suffered water damage and has consequent losses to the marquetry. However this is contained and should be restorable if the source image for the medallion can be traced. The left frieze drawer has a feint shrinkage line. Characteristic bowing to the door. Beading beneath the left frieze drawer is slightly buckled. General typical minor shrinkage lines to bandings throughout with some minor losses and lifting. Unexplained strengthening? baton to the underside which protrudes slightly and could benefit from being removed. Handles to drawer old and of good quality but could possibly be replacements. General old marks and scratches consistent with age. Agle lines to all the front medallions. Minor losses to feet. Very good colour and patina. An impressive commode of imposing proportions.
"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."
"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."
Catalogue Note
The present commode relates to a commode, attributed to Mayhew and Ince, sold by Sotheby's New York in: Tom Devenish: The Collection, 24 April 2008, lot 122.
The attribution of the Devenish commode to Mayhew and Ince, one of the most significant firms of London cabinet makers of the late 18th century, was largely based on the fine quality of the marquetry inlay in variously coloured and engraved woods and on the strongly Neo-classical elements of the design. The firm is recorded as working with the famous architect Robert Adam on many important commissions including Croome Court and Shelburne Castle and his influence is demonstrated in 'their ability to produce very early on, furniture in the most startling advanced Neo-classical taste.....and certainly owed much to their early collaboration with the country's leading Neo-classical architects', Beard and Gilbert, The Dictionary of Furniture Makers 1660-1840. The overall form of the present commode, the quality of design and the marquetry, also suggest Mayhew and Ince as a possible maker.
The present commode also however shares strong affinities with the work of the émigré Swedish cabinet maker Christopher Fuhrlohg. Born in Stockholm around 1740, Fuhrlohg came from a Swiss family which had earlier emigrated to Sweden. As a young man he travelled to Amsterdam and later Paris where he received his earlier training probably serving his apprenticeship in the workshop of the leading ébéniste, Simon Oeben. In 1766 or 1767, he arrived in England where he was joined by his future brother-in-law George Haupt, who had previously accompanied him to Amsterdam and Paris and who was himself a distinguished cabinet maker. Both men are thought to have found employment in the workshop of John Linnell. Fuhrlohg became well known for his skill in making Neo-classical marquetry panels and regularly participated in the annual exhibitions of the Free Society of Artists of Great Britain where in 1773 he presented a 'bacchante in inlay', and in 1774 a 'Venus attired by the Graces in inlay', together with a 'Flora in inlay'.
In 1775 he exhibited a panel of 'The Muse Erato in different coloured woods inlaid' and in the following year a 'Diana in stained wood, a circle'. The inlaid Neo-classical panels on the present commode are typical of his work and also relate closely to panels on a pair of commodes designed by Robert Adam in 1773, made by Mayhew and Ince and attributed to Fuhrlohg in Osterley Park, Middlesex, illustrated in Maurice Tomlin, Victoria and Albert Museum, 'Catalogue of Adam Period Furniture', 1972, p.44.
The attribution of the Devenish commode to Mayhew and Ince, one of the most significant firms of London cabinet makers of the late 18th century, was largely based on the fine quality of the marquetry inlay in variously coloured and engraved woods and on the strongly Neo-classical elements of the design. The firm is recorded as working with the famous architect Robert Adam on many important commissions including Croome Court and Shelburne Castle and his influence is demonstrated in 'their ability to produce very early on, furniture in the most startling advanced Neo-classical taste.....and certainly owed much to their early collaboration with the country's leading Neo-classical architects', Beard and Gilbert, The Dictionary of Furniture Makers 1660-1840. The overall form of the present commode, the quality of design and the marquetry, also suggest Mayhew and Ince as a possible maker.
The present commode also however shares strong affinities with the work of the émigré Swedish cabinet maker Christopher Fuhrlohg. Born in Stockholm around 1740, Fuhrlohg came from a Swiss family which had earlier emigrated to Sweden. As a young man he travelled to Amsterdam and later Paris where he received his earlier training probably serving his apprenticeship in the workshop of the leading ébéniste, Simon Oeben. In 1766 or 1767, he arrived in England where he was joined by his future brother-in-law George Haupt, who had previously accompanied him to Amsterdam and Paris and who was himself a distinguished cabinet maker. Both men are thought to have found employment in the workshop of John Linnell. Fuhrlohg became well known for his skill in making Neo-classical marquetry panels and regularly participated in the annual exhibitions of the Free Society of Artists of Great Britain where in 1773 he presented a 'bacchante in inlay', and in 1774 a 'Venus attired by the Graces in inlay', together with a 'Flora in inlay'.
In 1775 he exhibited a panel of 'The Muse Erato in different coloured woods inlaid' and in the following year a 'Diana in stained wood, a circle'. The inlaid Neo-classical panels on the present commode are typical of his work and also relate closely to panels on a pair of commodes designed by Robert Adam in 1773, made by Mayhew and Ince and attributed to Fuhrlohg in Osterley Park, Middlesex, illustrated in Maurice Tomlin, Victoria and Albert Museum, 'Catalogue of Adam Period Furniture', 1972, p.44.