BY PIERRE LANGLOIS, CIRCA 1760, THE PIETRA DURA PANELS FROM THE GRAND DUCAL WORKSHOPS, FLORENCE, LATE 17TH CENTURY

This magnificent commode with its Sicilian jasper top and precious Italian pietra dura panels is one of the most luxurious works in Pierre Langlois’ oeuvre and was made at the height of his career. It is part of an elite group of commodes incorporating precious materials and elaborate floral marquetry that epitomize the height of the ‘French fashion’ of the 1760s. They were commissioned by some of England’s foremost patrons, including the 4th Duke of Bedford, the 6th Earl of Coventry and Sir Horace Walpole and are among Langlois’ finest work.
Born to French emigré parents, Langlois probably trained in the Parisian workshop of the ébéniste, Jean-Francois Oeben. Langlois was recorded working at 39 Tottenham Court Road in London from 1759 and soon established himself as one of London’s leading cabinet-makers. His trade card touted his French origins and was also written in both French and English. Interestingly, the French text is more specific, stating ‘Faits touttes Sortes de Commodes, Secretaires, Encoignures et autre Meubles, Incrustez de/fleurs en bois et Marquetries garnies/de Bronzes...’ However, commodes were clearly his specialty as one is illustrated on his tradecard and it was also likely on his sign; his contemporary, Matthew Boulton (1728-1809), noted in his diaries that his workshop was ‘at the sign of the commode tables’ (N. Goodison, ‘Langlois and Dominique,’ Furniture History, vol. IV, 1968 pp.105-6.).
THE DESIGN
The commode’s form is identical to one Langlois supplied to the 4th Duke of Bedford (1710-1771) in 1760 for Woburn Abbey, Bedfordshire (reproduced here) which is Langlois’ earliest documented commission. Described as ‘a large Inlay’d Commode Table’ on Langlois’ receipt, it cost £78 8s 0d and was almost certainly placed in the two-room apartment newly decorated in the Louis XV taste. The commode clearly references French examples but it is a mixture of deliberately old fashioned and more up to date styles; its Régence/early Louis XV form and ormolu mounts are juxtaposed by its more au courant delicate naturalistic marquetry. On the present commode, the rich ormolu mounts frame a collection of late 17th century Italian pietra dura plaques from the Grand Ducal workshops in Florence. Founded in 1588 under the direct supervision of Prince Ferdinando I de’ Medici, they produced individual panels that were truly ‘paintings in stone.’ of landscapes and other subjects. Their rarity and expense would have been far beyond the means of any cabinet-maker so they were likely supplied by the unknown patron who commissioned this commode. Pietra dura panels were a common albeit very luxurious souvenir for British aristocrats making a Grand Tour. Their earlier date suggests they were selected in Italy and brought back to England to be incorporated into a piece of furniture.
The green ground in which the plaques are inset was thought to be original but a recent paint analysis has revealed a fascinating and previously unknown history. The original ground was apparently a black ground with gold flecks in imitation of Japanese nashiji lacquer which still remains on the interior of the central door, providing a glimpse of what must have been an incredibly sumptuous and dramatic setting for the pietra dura plaques. The green ground was first applied in 19th century, possibly as early as 1820, followed by the most recent green layer applied in the first half of the 20th century.
In addition to its form and decoration, the commode’s construction and mounts have features that are unique to Langlois’ oeuvre. They include the two-paneled construction to the pine backboards which are stained black as is the underside, the French construction of the drawer linings and the distinctive boldly foliate angle mounts. Made by fellow émigré Dominique Jean, they appear on a number of commodes either by or attributed to Langlois and are derived from French prototypes. A bronzier by trade, Jean was also Langlois’ son-in-law and was employed in his workshop to fashion mounts.
RELATED EXAMPLES
In addition to the Woburn Abbey commode, another marquetry commode of identical form, mounts and what appears to be a Sicilian jasper top cut from the same slab was sold anonymously at Christie's, London, 7 July 1988, lot 115; it is now in a private collection. Interestingly, it has been suggested that the present commode could be the prototype for the Woburn commode (G. Jackson Stops ed.,The Treasure Houses of Britain, New Haven, 1985, p.262) and the Christie’s commode could perhaps represent an intermediary stage in the development of this model.
Langlois also made other closely related commodes incorporating luxurious materials such as Chinese lacquer. This was clearly the product of his French training as the skills required to shape lacquer panels into serpentine commodes was essentially unknown to English cabinet-makers. These commodes include a pair at Powis Castle (NT1181049.1 and 2) and another pair supplied to Sir Horace Walpole for Strawberry Hill now at the Fine Arts Museum, San Francisco (1985.58a-b).
Although Langlois did make other commodes incorporating pietra dura panels, they are kneehole commodes and later in date. They include one sold at Sotheby’s, London 5 July 2017, lot 32 and another sold anonymously at Christie’s, London 8 July 1999, lot 110.
THE PROVENANCE 
Mrs. Gubbay was married to a cousin of Philip Sassoon and was herself an immensely distinguished collector of porcelain and English furniture. When she died in 1967, her collection was left to The National Trust, by whom it is displayed at Clandon Park, Surrey. Mrs. Gubbay often acted as Philip Sassoon's hostess at Trent Park and Port Lympne after his sister Sybil's marriage to the Marquess of Cholmondeley prevented her from doing so.   It is possible that Mrs. Gubbay may have acquired the commode from Partridge as they are credited with the image of it that appears in the 1972 Connoisseur article.