A fine George III satinwood, harewood and fruitwood marquetry commode

of D-shaped form, the escalettes marble top with a gilt-metal gadrooned edge above a conforming frieze inlaid with anthemion and sprays of leaves joined by scrolls and with a drawer at the center, above two large drawers inlaid with swags of drapery joined by flowerheads, flanked by pilasters headed by inlaid flowerhead paterae above upright and pendant-berried leaves further flanked by pilasters headed by oval flowerhead paterae above pendant-berried leaves joined by a patera, and continuing to line-panelled tapered legs with spade toes, the bowed ends crossbanded and inlaid at the center with oval harewood panels finely inlaid with neo-classical covered urns, enclosing shelves, curved ends, each side with a similarly inlaid frieze above a crossbanded door with an oval harewood panel inlaid with a neo-classical urn with fluted sides above a gadrooned socle, the handles formed as foliate scrolls supporting drapery, the base with a gilt-metal guilloche-pattern mount, and supported on square-tapered crossbanded feet with spade toes.  Later marble top and gilt-metal mounts.

C. H. F. Kindermann, Esq.

The Antique Dealers' Fair and Exhibition, Grosvenor House, June 9-24 1965, p. 41, R. L. Harrington Ltd., London, stand 18

Herbert Cescinsky, English Furniture of the 18^th Century, London, 1911, p. 304, fig. 332

Later gilt-metal mounts and later marble top; marble top with old repaired break to center and with infilling, some small chips and wear to edges and with an infilled chip to back left corner; overall good condition; central frieze drawer with a loss to crossbanded veneer approximately 1 inch by 3/4 inch; loss to veneer of one inlaid drapery swag to bottom drawer at right side approximately 2 inches by 1/4 inch; restorations to age cracks to bow-fronted doors and with a small patch to right door; some small nicks, chips and wear to edges and with the usual minor scratches, marks, bruises and wear. Beautiful color to wood, engraving to marquetry still crisp; finely made.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This important satinwood commode is notable for the fine quality of its neo-classical marquetry inlay on satinwood and harewood grounds; in particular the oval panels on the doors illustrate the artistry and technique of the finest marqueteurs of this period, the source of the design of the draped urns, this 'antique' motif being derived from engravings. This was a specialist art, the inlayer not necessarily being employed in a single workshop. In particular a group of Swedish are recorded as exhibiting individual examples of their work at the Free Society of Artists in the 1770s. These included Carl Gustave Martin who first exhibited in 1771, Christopher Furlough who showed 'A Baccante inlay' in 1773 and 'A Venus attired by Graces' in 1774. In 1774 Johan Linning, who described himself as an 'Inlayer at Mr. Furlogh's, 24 Tottenham Court Rd', exhibited 'The Muse Erato'.