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Lot Essay
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The painted decoration of this commode is governed by the theme of Love and the Arts, as represented by the three allegorical female figures on the doors and the top. The figure on the left hand door would appear to be Melpomene, the Muse of Tragedy, represented with her traditional attribute the dagger as well as a lighted torch. The adjoining figure is almost certainly Thalia, the Muse of Comedy, who is identified by the stringed instrument she carries. The figure on the top of the commode may be Terpsichore, the Muse of Dancing and Song, or more probably Erato, the Muse of Love Poetry, since in addition to a lyre, symbol of both Terpsichore and Erato, the figure is accompanied by a winged putto, probably Cupid, God of Love. The commode is further enriched with trailing vines, emblematic of wine and feasting, and with pineapples, the traditional symbol of hospitality, as well as fruit and flowers, which continue the theme of natural abundance. The painted decoration is of a quality which naturally suggests the involvement of an accomplished artist, strongly recalling the work of Angelica Kauffmann as well as that of her husband Antonio Zucchi, and Biagio Rebecca, who specialised in figure painting of this kind in grisaille.
The 'French' form of the commode is a type which first became fashionable in the late 1770s, having evolved from the serpentine commodes of the 1750s and 1760s such as those promoted in Thomas Chippendale's Gentleman and Cabinet Maker's Director. In combining painted decoration with finely figured veneer the commode follows a pattern pioneered by Robert Adam, notably in the design of the Derby House commode, produced by the firm of Mayhew and Ince circa 1775-80 (see L. Wood, Catalogue of Commodes in The Lady Lever Art Gallery, 1994, no. 23, pp. 203-209). The combination of timbers - satinwood and amaranth - is also inspired by French prototypes. Several other examples of this type are recorded, among them a commode in the Victoria and Albert Museum which features closely-related painted floral panels (M. Tomlin, Catalogue of Adam Period Furniture, V & A, 1982, pl. 177, no. U/6). The decoration also compares closely to that on a dressing-commode in the Lady Lever Art Gallery which is discussed in Wood, op. cit, no. 36, pp. 276-282 and colour pl. 43. This piece is also illustrated in R. Fastnedge, Sheraton Furniture, 1962, p. 93, pl. 32 A & B. A further pair of pier tables with similarly decorated tops is illustrated in C. Claxton Stevens and S. Whittington, 18th Century English Furniture: The Norman Adams Collection, 1983, pp. 339 & 357.
The commode may be attributed to the firm of Seddon Sons and Shackleton, 'one of the most eminent cabinet-makers in London', based on the similarity of the decoration to furniture attributed to the firm, as well as its overall quality. Large detailed painted floral panels feature a variety of pieces, notably on two cylinder bureaux, one of which is the Lady Lever Art Gallery (C. Gilbert, 'Seddon Sons and Shackleton', Furniture History, 1997, figs. 27 and 28), while the classical figures figure on a signed cabinet of immense proportions (which has since been broken up; ibid, figs. 15-16).
The painted decoration of this commode is governed by the theme of Love and the Arts, as represented by the three allegorical female figures on the doors and the top. The figure on the left hand door would appear to be Melpomene, the Muse of Tragedy, represented with her traditional attribute the dagger as well as a lighted torch. The adjoining figure is almost certainly Thalia, the Muse of Comedy, who is identified by the stringed instrument she carries. The figure on the top of the commode may be Terpsichore, the Muse of Dancing and Song, or more probably Erato, the Muse of Love Poetry, since in addition to a lyre, symbol of both Terpsichore and Erato, the figure is accompanied by a winged putto, probably Cupid, God of Love. The commode is further enriched with trailing vines, emblematic of wine and feasting, and with pineapples, the traditional symbol of hospitality, as well as fruit and flowers, which continue the theme of natural abundance. The painted decoration is of a quality which naturally suggests the involvement of an accomplished artist, strongly recalling the work of Angelica Kauffmann as well as that of her husband Antonio Zucchi, and Biagio Rebecca, who specialised in figure painting of this kind in grisaille.
The 'French' form of the commode is a type which first became fashionable in the late 1770s, having evolved from the serpentine commodes of the 1750s and 1760s such as those promoted in Thomas Chippendale's Gentleman and Cabinet Maker's Director. In combining painted decoration with finely figured veneer the commode follows a pattern pioneered by Robert Adam, notably in the design of the Derby House commode, produced by the firm of Mayhew and Ince circa 1775-80 (see L. Wood, Catalogue of Commodes in The Lady Lever Art Gallery, 1994, no. 23, pp. 203-209). The combination of timbers - satinwood and amaranth - is also inspired by French prototypes. Several other examples of this type are recorded, among them a commode in the Victoria and Albert Museum which features closely-related painted floral panels (M. Tomlin, Catalogue of Adam Period Furniture, V & A, 1982, pl. 177, no. U/6). The decoration also compares closely to that on a dressing-commode in the Lady Lever Art Gallery which is discussed in Wood, op. cit, no. 36, pp. 276-282 and colour pl. 43. This piece is also illustrated in R. Fastnedge, Sheraton Furniture, 1962, p. 93, pl. 32 A & B. A further pair of pier tables with similarly decorated tops is illustrated in C. Claxton Stevens and S. Whittington, 18th Century English Furniture: The Norman Adams Collection, 1983, pp. 339 & 357.
The commode may be attributed to the firm of Seddon Sons and Shackleton, 'one of the most eminent cabinet-makers in London', based on the similarity of the decoration to furniture attributed to the firm, as well as its overall quality. Large detailed painted floral panels feature a variety of pieces, notably on two cylinder bureaux, one of which is the Lady Lever Art Gallery (C. Gilbert, 'Seddon Sons and Shackleton', Furniture History, 1997, figs. 27 and 28), while the classical figures figure on a signed cabinet of immense proportions (which has since been broken up; ibid, figs. 15-16).