A George III gilt-bronze-mounted oblong satinwood tea caddy circa 1780

Good overall condition. Some wear to the apparently original light layer of lacquer to the veneers with some consequent minor patches of darker colour. The inside of the cannisters to the interior have probably been relined to simulate a foil finish. Silk to the interior of lid with some marks and wear. General old marks and scratches. Exceptional quality throughout.
"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."

A George III mahogany and satinwood tea caddy of related design sharing paterae filled twin oval panels to the front, is recorded in John Gloag and Yvonne Hackenbroch, English Furniture with Some Furniture from Other Countries in the Irwin Untermyer Collection, 1958, pl. 323, fig. 372.

The present tea caddy represents a simplified interpretation of the neo-classical style promoted in Robert Adams designs for furniture produced for his various patrons throughout the 1770s. In particular, the configuration of oval panels within a rectilinear framework, has strong parallels with Adam's designs for various commodes including examples for Aspley House, Derby House, Osterly Park, and an example for the Duke of Bolton (See Eileen Harris, The Furniture of Robert Adam, 1963, pls. 44, 45,  47 and 49).

Robert Adam's most celebrated collaborations include a suite of furniture designed by him and supplied by Thomas Chippendale in 1764 to Sir Lawrence Dundas Bt., (d.1792) for the principal drawing room of his London Mansion at 19 Arlington Street. This was one of Chippendale's earliest forays into neo-classical furniture indicating that he was at the vanguard of fashion. Likewise, the evidently advanced design of the caddy here, combining exceptionally fine cabinet-work with exotic veneers and lavish mounts, is indicative of a leading London maker such as Chippendale.