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Lot Essay
The commode formed part of the collection of the dealer Isaac Falcke (d. 1910) and was sold from his house in the Christie's sale, where it was purchased by R. Partridge. A number of items in his collection were stated to have come from the Royal Pavilion at Brighton. Interesting to note however is the inclusion of this piece in F.L. Hinkley The More Significant Regency Furniture, 1800-1830, New York, 1991, fig. 78, which states that this commode was owned by King George IV and was exhibited at the Royal Pavillion, Brighton, presumably in one of the exhibitons of Regency furniture held annually from 1948 until circa 1956.
Designed in the George III neoclassical manner, this semi-circular commode with its figurative medallions derives from the antique or 'Etruscan' style commode illustrated in Robert Adam's Works in Architecture, vol.II, 1779. The central medallion is based on F. Bartolozzi's engraving of a painting by Angelica Kauffman (d. 1807) (see C.G. Boerner, Angelica Kauffman, 1979, fig.133). Kauffman was famed for her paintings of historical subjects and scenes from classical poetry. With this piece, the central plaque is taken from R. Dodsley's play Cleone, which was inspired by Sir William Lower's translation of the Legend of St. Genevieve. Act V, set in a wood begins with the heroine forming a bower around her child and singing 'Sweeter than the damask rose was his lovely breat; there, O let me there repose, Sigh, sigh and sink to rest'. The plaque on the left depicts the Muse of Lyric Poetry, Erato, attended by Cupid. She and the dancing companion in the right-hand plaque are based on festive Herculaneum figures illustrated in La Antichita di Ercolano Esposte, 1757-1792. At some point after the publication of Speciments of Old English Furniture..., the two side panels were reversed and the feet altered.
Designed in the George III neoclassical manner, this semi-circular commode with its figurative medallions derives from the antique or 'Etruscan' style commode illustrated in Robert Adam's Works in Architecture, vol.II, 1779. The central medallion is based on F. Bartolozzi's engraving of a painting by Angelica Kauffman (d. 1807) (see C.G. Boerner, Angelica Kauffman, 1979, fig.133). Kauffman was famed for her paintings of historical subjects and scenes from classical poetry. With this piece, the central plaque is taken from R. Dodsley's play Cleone, which was inspired by Sir William Lower's translation of the Legend of St. Genevieve. Act V, set in a wood begins with the heroine forming a bower around her child and singing 'Sweeter than the damask rose was his lovely breat; there, O let me there repose, Sigh, sigh and sink to rest'. The plaque on the left depicts the Muse of Lyric Poetry, Erato, attended by Cupid. She and the dancing companion in the right-hand plaque are based on festive Herculaneum figures illustrated in La Antichita di Ercolano Esposte, 1757-1792. At some point after the publication of Speciments of Old English Furniture..., the two side panels were reversed and the feet altered.