A GEORGE III POLYCHROME-PAINTED SATINWOOD, TULIPWOOD, AMARANTH AND MARQUETRY COMMODE
PROPERTY SOLD BY THE ART INSTITUTE OF CHICAGO (LOTS 187-188)
A GEORGE III POLYCHROME-PAINTED SATINWOOD, TULIPWOOD, AMARANTH AND MARQUETRY COMMODE

CIRCA 1790

Details
A GEORGE III POLYCHROME-PAINTED SATINWOOD, TULIPWOOD, AMARANTH AND MARQUETRY COMMODE
CIRCA 1790
The demilune top painted with vine border above four cabinet doors enclosing shelves decorated with muses within oval reserves, on later gilt-fluted feet, with inventory plaque numbered 48, white museum accession number, formerly with pulls, the piece shown with its present feet in the 1916 article
35 ¾ in. (91 cm.) high, 64 ¼ in. (163 cm.) wide, 24 ½ in. (62 cm.) deep
Provenance
Bequest of Florence H. Crane, 1950.
Literature
F. Litchfield, 'Painted Satinwood Furniture,' The Connoisseur, December 1916, p. 185.
L. Wood, Catalogue of Commodes, London, 1994, p. 287, figs. 258-260.

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Lot Essay

This commode was in the illustrious collection of Florence and Richard Crane Jr., the youngest son of Richard Teller Crane, of the Crane Company of Chicago. In the 1916 Connoisseur article on satinwood furniture, Frederick Litchfield cites many of his illustrated examples as from a collection he assisted “an American gentleman” in buying for his “mansion he was building”, which through later provenance can now be identified as that at 1550 North Lake Shore Drive. Crane later hired architect David Adler to rebuild a proper country house at Castle Hill, Ipswich, Massachusetts, which incorporated numerous examples of early European paneling, Old Master paintings and important pieces of Georgian furniture, all set in the surrounds of a Frederick Law Olmstead Jr. landscape. After the death of Florence Crane in 1949 the majority of her estate was sold by Parke-Bernet Galleries, New York, 29-30 June 1950, although the present commode was excluded from the sale, and instead bequeathed to the Art Institute of Chicago, of which she was a benefactor.
A very similar commode from Thornton Hall is illustrated and discussed in L. Wood, Catalogue of Commodes, p. 283-288. These two examples share the same marquetry fan pattern to the top, inlaid paterae to the supports and use of exotic woods. The Thornton Hall example retains its original feet, although the handles have also been removed, and the roundels have been repainted.

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