A Régence style gilt bronze mounted kingwood and fruitwood trellis parquetry commode known as "commode à pipée des oiseaux" Paris, last quarter 19th century, after the celebrated model by Charles Cressent

surmounted by a brèche d'Alep marble top, and fitted with two long drawers

A. Pradère, Charles Cressent sculpteur, ébéniste du Régent, 2003, Dijon, p.60

Sir Anthony Blunt, The James A. De Rothschild Collection at Waddeson Manor, vol. I, 1974, p. 201. 

Charles Cressent (1685-1767) is indisputably the most representative craftsman of the Régence period, during which fashion started to turn toward furniture finished with relatively simple wood veneers but was fitted with ormolu mounts of an increasingly sculptural quality and splendor.  In this arena Cressent stood alone, his early training as a sculptor more than evident in the originality and quality of the mounts he produced. He became master sculptor in 1719 and a member of the Academy of Saint-Luc. He is recorded as both sculpteur and ébéniste to the Duc d'Orléans. Cressent was constantly in difficulties with the guild of fondeurs and doreurs because, in contrast to the guild rules, he chased and gilded bronzes in his own workshop.  In many instances he had even supplied models which he had created himself to the casters.  His defense against this was that it enabled him to both supervise the quality of the work and prevent unauthorized copies being made. Arguably, his defiance of the guild regulations left a legacy of ormolu mounts of unparalleled distinction.