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Lot Essay
The neo classical semi-elliptical commodes are attributed to William Moore (d. 1814), the foremost cabinet-maker and purveyor of ‘Inlaid Work’ in Ireland in the latter part of the 18th century, based on a number of stylistic features. Only two pieces of furniture have been firmly identified as by Moore, a demi-lune commode, circa 1782, made for William Henry Cavendish-Bentinck, 3rd Duke of Portland (d. 1809) when Viceroy of Ireland, and a demi-lune Pianoforte, circa 1785, inscribed ‘W Moore’, the only signed example of his work, its present whereabouts unknown. However, the recurrent use and arrangement of certain ‘Adamesque’ motifs together with unique construction techniques suggests that much previously unattributed furniture may be by him (R. Luddy, ‘Every Article in the Inlaid Way: the Furniture of William Moore’, Irish Arts Review, 2002, vol. 18, pp. 44-45, figs. 1 and 4).
The marquetry frieze of these commodes features the distinctive and naturalistic ribbon-tied anthemion with foliage motif flanked by swags of husks found on the Portland commode, and other commodes, pier tables and corner commodes attributed to Moore (the Portland commode illustrated W.A. Thorpe, ‘William Moore, Inlayer, Country Life, 3 May 1946, p. 806, fig. 1). These include: a commode in the Victoria & Albert Museum, London (W.56:1 to 3-1925); a pair of commodes in the Metropolitan Museum of Art, New York (61.189.1, 2); a commode formerly the property of the Duke of Devonshire at Lismore Castle, Lismore, sold Christie’s, London, 11 July 1929, lot 39 (illustrated R. Edwards, P, Macquoid, The Dictionary of English Furniture, rev. ed., 1954, vol. II, p. 122, fig 32); a pair of corner commodes, formerly in the Bruce collection (one illustrated, ibid., fig. 33); another pair of commodes, virtually identical to the Bruce pair but with different supports (sold Sotheby’s, New York, 20-21 October 2003, lot 246), and a pair of pier tables (sold Christie’s, London, 11 November 1999, lot 164). The present commodes feature the same stiles displaying narrow vertical marquetry panels with recurrent anthemion interposed with bellflowers consistent with the above examples, and the restrained sacred urn flanked by ribbon-tied swags of husks that includes beading is very similar to the ornamentation of the Victoria & Albert Museum, and the Metropolitan Museum examples. The Bruce corner commodes, and pier tables have virtually identical ornamentation to the present commodes including the inlaid sand-shaded fan patera, and the vine and berry border to the tops; the Bruce commodes and the pier tables together with the present example may possibly be part of the same suite of furniture.
WILLIAM MOORE
In his early career Moore trained in London with the firm of Mayhew & Ince, possibly as a marqueteur, and his neo-classical marquetry closely resembles that of his former masters. Moore moved to Dublin before 1782, and on 26 April of that year an advertisement in the Dublin Evening Post announced, ‘To the Nobility and Gentry… William Moore, most respectfully acknowledges the encouragement he has received, begs leave to inform those who may want Inlaid Work, that by his close attention to business, and instruction to his men, he has brought the Manufacture to such perfection, to be able to sell for almost one-half his original prices; as the greatest demand is for Pier-tables, he has just finished in the newest taste, a great variety of patterns, sizes and prices, from three Guineas to Twenty; Card-tables on a new construction (both ornamented and plain) which appear like small Pier-tables, with every article in the Inlaid Way, executed on the shortest notice, and hopes from his long experience, at Messrs. Mayhew and Ince, London, his remarkable fine coloured woods, and elegant finished work, to meet the approbation of all who shall please to honour him with their commands’ (Country Life, 31 May 1946). His business at ‘The Inlaid Ware-room’ evidently thrived, and by 1791 he had moved from his first premises at no. 22 Abbey Street to the adjacent but more fashionable Capel Street, remaining there until his death in 1815.
Moore’s work as an independent supplier of ‘Inlaid Work’ differs, however, in his two-dimensional ornamentation, the use of naturalistic floral and foliate motifs and restrained classical motifs such as the classical urn. In Mayhew & Ince’s repertoire ornamentation tends towards the three-dimensional, and motifs like the urn or an antique tripod are represented in large form and often stylised, for example the foot of an urn terminating in elaborate foliate scrolls.
Interestingly, both the present commodes, and the corresponding pier tables bear the label of ‘R. STRAHAN, CO. LTD… DUBLIN’ attesting to a previous history in Ireland. The firm of Robert Strahan was founded in 1776 when it was recorded as ‘cabinet-maker, upholsterer, auctioneer and undertaker’. Later operating from premises in 10-11 Chancery Lane, by 1815 it was so successful that two new workshops opened at 24-25 Henry Street and 5 Leinster Street in 1845. In 1870, the firm moved to Abbey Street and continued to trade under the well-established family name up until 1969. It was almost certainly as a retailer that Robert Strahan & Co. acquired the present commodes, and the comparable pier tables.
The commodes were twice acquired by the London dealers Mallett, firstly in 1961 and again after they were sold anonymously Sotheby's, London, 26 November, 2003 (£364,000 including premium).
See also lots 563, 653 and 679.
The marquetry frieze of these commodes features the distinctive and naturalistic ribbon-tied anthemion with foliage motif flanked by swags of husks found on the Portland commode, and other commodes, pier tables and corner commodes attributed to Moore (the Portland commode illustrated W.A. Thorpe, ‘William Moore, Inlayer, Country Life, 3 May 1946, p. 806, fig. 1). These include: a commode in the Victoria & Albert Museum, London (W.56:1 to 3-1925); a pair of commodes in the Metropolitan Museum of Art, New York (61.189.1, 2); a commode formerly the property of the Duke of Devonshire at Lismore Castle, Lismore, sold Christie’s, London, 11 July 1929, lot 39 (illustrated R. Edwards, P, Macquoid, The Dictionary of English Furniture, rev. ed., 1954, vol. II, p. 122, fig 32); a pair of corner commodes, formerly in the Bruce collection (one illustrated, ibid., fig. 33); another pair of commodes, virtually identical to the Bruce pair but with different supports (sold Sotheby’s, New York, 20-21 October 2003, lot 246), and a pair of pier tables (sold Christie’s, London, 11 November 1999, lot 164). The present commodes feature the same stiles displaying narrow vertical marquetry panels with recurrent anthemion interposed with bellflowers consistent with the above examples, and the restrained sacred urn flanked by ribbon-tied swags of husks that includes beading is very similar to the ornamentation of the Victoria & Albert Museum, and the Metropolitan Museum examples. The Bruce corner commodes, and pier tables have virtually identical ornamentation to the present commodes including the inlaid sand-shaded fan patera, and the vine and berry border to the tops; the Bruce commodes and the pier tables together with the present example may possibly be part of the same suite of furniture.
WILLIAM MOORE
In his early career Moore trained in London with the firm of Mayhew & Ince, possibly as a marqueteur, and his neo-classical marquetry closely resembles that of his former masters. Moore moved to Dublin before 1782, and on 26 April of that year an advertisement in the Dublin Evening Post announced, ‘To the Nobility and Gentry… William Moore, most respectfully acknowledges the encouragement he has received, begs leave to inform those who may want Inlaid Work, that by his close attention to business, and instruction to his men, he has brought the Manufacture to such perfection, to be able to sell for almost one-half his original prices; as the greatest demand is for Pier-tables, he has just finished in the newest taste, a great variety of patterns, sizes and prices, from three Guineas to Twenty; Card-tables on a new construction (both ornamented and plain) which appear like small Pier-tables, with every article in the Inlaid Way, executed on the shortest notice, and hopes from his long experience, at Messrs. Mayhew and Ince, London, his remarkable fine coloured woods, and elegant finished work, to meet the approbation of all who shall please to honour him with their commands’ (Country Life, 31 May 1946). His business at ‘The Inlaid Ware-room’ evidently thrived, and by 1791 he had moved from his first premises at no. 22 Abbey Street to the adjacent but more fashionable Capel Street, remaining there until his death in 1815.
Moore’s work as an independent supplier of ‘Inlaid Work’ differs, however, in his two-dimensional ornamentation, the use of naturalistic floral and foliate motifs and restrained classical motifs such as the classical urn. In Mayhew & Ince’s repertoire ornamentation tends towards the three-dimensional, and motifs like the urn or an antique tripod are represented in large form and often stylised, for example the foot of an urn terminating in elaborate foliate scrolls.
Interestingly, both the present commodes, and the corresponding pier tables bear the label of ‘R. STRAHAN, CO. LTD… DUBLIN’ attesting to a previous history in Ireland. The firm of Robert Strahan was founded in 1776 when it was recorded as ‘cabinet-maker, upholsterer, auctioneer and undertaker’. Later operating from premises in 10-11 Chancery Lane, by 1815 it was so successful that two new workshops opened at 24-25 Henry Street and 5 Leinster Street in 1845. In 1870, the firm moved to Abbey Street and continued to trade under the well-established family name up until 1969. It was almost certainly as a retailer that Robert Strahan & Co. acquired the present commodes, and the comparable pier tables.
The commodes were twice acquired by the London dealers Mallett, firstly in 1961 and again after they were sold anonymously Sotheby's, London, 26 November, 2003 (£364,000 including premium).
See also lots 563, 653 and 679.