A related example is illustrated by Steiner, op. cit., no. 462. A further related example, with similar English-inspired escutcheons and drawer pulls and bearing the crests of the Grimaldi and Spinola families, is illustrated by González-Palacios, op. cit., p. 208 fig. 240, where the author describes the piece as 'one of the finest painted Genoese commodes' extant (p. 214) and dates it to 1769, the year of a double marriage between members of the two patrician families, indicating that the taste for this style of decoration persisted well into the latter half of the 1700's.
The vicinity of France and its political influence on the Republic of Genoa throughout the 18th century had a strong impact on the cultural life of the latter. Genoa gained an equal reputation to that of Venice with regards to lacquered pieces and the corporation of laccatori in Genoa used a type of lacquer which was different to that used in Venice as it was thinner. During a 1765 visit to the Ligurian capital, the French astronomer Jean-Jérôme Lefrançois de Lalande (1732-1807) commented favourably on the quality of lacquer objects produced in the city and noted that a workshop opposite the Chiesa della Maddalena had achieved such notoriety over the past twenty years that connoisseurs esteemed the local vernice della Maddalena of equal quality and prestige to the celebrated Parisian Vernis Martin. Unfortunately, as in Venice, the lack of a Court and of Royal commissions make it difficult, if not impossible to identify the names of specific furniture makers.
A comparable commode was sold in Sotheby's, London, 12th June 2002, lot 331 (£60,000).
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