A brass and tortoiseshell inlaid première-and contre-partie boulle marquetry commode attributed to Nicolas Sageot (1666-1731) Louis XIV, circa 1700

the rectangular top with curved corners above a serpentine front with three short and two long drawers inlaid with Berainesque designs, on hoof feet; two gilt-bronze escutcheons later replacements, rebacked 

Possibly acquired by either William Cavendish, 4th Earl, later 1st Duke, of Devonshire (1648-1707) or his son William Cavendish, 2nd Duke of Devonshire (1672-1729)

Handbook, p. 123
Chatsworth Inventory, 1844, p. 104 in the First State Room;
Chatsworth Inventory, 1859, p. 86 in the same room;
Photographed in the Great Chamber at Chatsworth, circa 1890;
Chatsworth Inventory, 1892, p. 122 in the Great Chamber;
Chatsworth Inventory, 1905, p. 92 in the same room;
Chatsworth Derbyshire, Country Life, June 15 1907,  p. 876 in the Great Chamber;
H. Avary Tipping, English Homes, Period IV, Vol. I, Late Stuart, 1694-1714, London, 1920, p. 329;
Francis Thompson, A History of Chatsworth, London, 1949, p. 142, pl. 67.

Some of the brass inlay has lifted and there are some losses, especially to the bottom drawer. The engraving and tortoiseshell inlay especially to the top is in reasonably good condition and the engraving on the marquetry possibly enhanced and the marquetry has been restored. The gilding to the bronze mounts is completely rubbed. Some old restorations generally including the replaced back and patches to the veneer. Further chips and minor veneer losses throughout. There was previously an apron in three sections. The rear right canted leg has possibly been restored. Of pleasing proportions. In otherwise good conserved condition.
"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
Peter Hughes, The Wallace Collection, Catalogue of Furniture, Vol. II, 1996, No.137 (F39), p. 639 and No.139 (F408), p.649.
Seymour de Ricci, Louis XIV and Régence, Germany, 1929, p. 122.

There is a group of high quality Louis XIV brass inlaid furniture at Chatsworth, some of which was probably purchased by William Cavendish, 2nd Duke of Devonshire (1672-1729).

It is highly likely that this impressive commode was executed by Nicolas Sageot (1666-1731), received Master in 1706.

This commode bears striking similarities to commodes tentatively attributed to Nicolas Sageot in the Wallace Collection, London, illustrated by Hughes, op. cit., p. 639, No. 137 (F39), reproduced here in fig. 1 and No. 139 ( F408), p. 649. The dating of the Wallace commode, no. 137, (F39), illustrated by Hughes op. cit., p. 639, and the present commode to circa 1700, is suggested by the rectilinear shape and pilaster like legs angled outwards like those of late 17^th century bureaux. The commode (F39), in the Wallace collection, is the same shape, with marquetry of the same design on its sides, to one sold Sotheby's, Monaco, June 2nd 1986, lot 461, the marquetry on the top of which is identical to that on a writing-table stamped by Sageot in the Royal Collection, Stockholm. There is a further link between F39 in the Wallace collection and Nicolas Sageot, as the marquetry on the sides of the commode is of virtually the same design, as on the lower halves of the doors of two armoires, the first stamped Nicolas Sageot and the second stamped N.S. The same design also appears on the doors of three other armoires attributed to Sageot.    

The top on the Wallace Collection commode and that offered here are almost identical save for the central figures on the former which depict Venus and Cupid and the decoration on the sides is also virtually identical.

The reason that Peter Hughes op. cit., only makes a tentative attribution to Sageot is that he was known to have employed marquetry cutters from outside his workshop such as Toussaint Devoye (active c. 1706-1748), whose marquetry also appears on furniture by other cabinet-makers. 

Furthermore, the Wallace commode No.139 (F408) is also  comparable to the present commode in many other respects although there are some variations in the overall form and details of the marquetry.

The marquetry of the top and sides of this group of commodes probably derive from drawings by Jean Bérain (1640-1711). Berain who was both a celebrated French architect and ornamental designer was one of the innovators reponsible for the creation of a distinct Louis XIV style. From 1670, he was employed by the French Crown as an engraver and was appointed in 1674 Architecte Dessinateur de la Chambre et du Cabinet du Roi, responsible for providing designs for royal festivities and celebrations. In 1690, he became chief designer with apartments in the Louvre alongside those of his relative André-Charles Boulle. His designs for furniture, boiseries and chimney-pieces were engraved and published and were characterised by grotesques in a whimsical style with canopies held aloft by fantastical term figures and classical gods, with chinamen and monkeys in attendence. His influence on the Louis XIV style furniture cannot be underestimated. A collection of his engraved designs were published in 1711 in Paris, Oeuvre de Jean Bérain, recueillies par les soins du sieur Thuret, see fig. 2.

Nicolas Sageot:
First recorded in Paris in 1698, Sageot achieved his maîtrise in 1706 and was based in the Faubourg Saint-Antoine. He evidently rapidly expanded his business, as by 1711 he amassed 12,000 livres, almost all in stock-in-trade.The extensive nature of his business is revealed by the sale in 1720 to Léonard Prieur "Marchand Mercier Grossier Joaillier Privilégié suivant la Cour " of 16,000 livres worth of furniture, consisting of a wide range of armoires, bureaux and commodes.