A George II walnut serpentine front commode circa 1755

the white marble top above four long graduated drawers, inlaid throughout with featherbanding

Minor characteristic chips to edges of marble. Marble with generally worn and scratched surface, consistent with the age of the chest. However it is difficult to rule out the possibility that it could have been replaced, perhaps during the early 19th century. Minor age cracks to timber at sides. Handles appear original. Good colour and patina.
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The form of this commode with its serpentine top, re-entrant corners and leaf carved apron centred by acanthus carving relates to a group of commodes which include particularly notable examples sold in the Samuel Messer Collection, Christie`s London, 5th December 1991, lots 104-106. Of this group lot 106 was most probably commissioned by the francophile 2nd Viscount Galway ( d.1772) for Serlby Hall, Nottinghamshire and is thought to be the one listed in the 1755 inventory of his new house as `1 chest of mahogany drawers'. The architect of Serlby was James Paine ( 1717-1789).

Paine was a member of the St Martin`s Lane Academy which was founded in 1735 by William Hogarth who in 1753 published `The Line of Beauty' which praised the serpentine form rather than the straight line as the most appropriate for furnishing pieces. Paine is supposed to have persuaded Thomas Chippendale ( d.1779) to move from Yorkshire to London where his arrival was preceded by the announcement of the publication of his 1754 The Gentleman and Cabinet-maker`s Director. Many of the pieces in this Director reflect the interest prevalent of this French style. Paine subscribed to the Director and his premises were directly opposite Chippendale`s. It was suggested that Chippendale supplied the commode to Serlby under the direction of Paine. It is therefore interesting to note the use here of the handles to the top three drawers here closely relate to examples found on a bookcase supplied by Chippendale for Dumfries House (see Christopher Gilbert, The Life and Works of Thomas Chippendale, 1978, 2 vols., vol. II, figs. 63 and 264).

The carving to the apron of the present commode has affinities with that on a George III fustic and padouk kneehole desk, now tentatively attributed to Wright and Elwick (see Christie's Wentworth Woodhouse, 8 July 1998, p. 112) sold Christie's London, 19 November 1992, lot 54. Furthermore the carved shell motif flanked by acanthus scrolls to the centre of the apron here, is mirrored on a library armchair attributed to Paul Saunders, sold Sotheby's London, 18 November 2008, lot 328.

Two comparable commodes are illustrated in M. Jourdain and F. Rose, English Furniture, The Georgian Period (1750-1830), London, 1953, pl.108, Christopher Claxton-Stevens, 18th Century English Furniture, The Norman Adams Collection, 1983, p.374 and a further example sold Sotheby's London 18 November 2008, lot 327.

The commode here is distinguished from the aforementioned comparisons in respect of the rare use of a marble top applied to English furniture of the mid-18th century and also its walnut veneers as opposed to the more typical choice of mahogany, favoured by native cabinet-makers of the period.