The sharply defined marquetry of naturalistic garlanded and ribbon-tied bouquets of flowers framed within clearly delineated cartouches, is closely linked to furniture made for the Saxon court in Dresden. Several commodes, including a pair branded with the stamp of Schloss Moritzburg and later recorded in the Kaiserzimmer at the Residenzschloss in Dresden bear, within double C-scroll borders, the same life-like floral marquetry in stained maple and fruitwood on a distinctive iron chloride-stained sycamore background, its characteristic rippled effect so well-known due to its use in violin-making (G. Haase, Dresdener Möbel des 18. Jahrhunderts, Leipzig, 1983, cat. 58-59 and ill. 154, 158-9).
With its distinct arrangement of flowers this bureau relates to the oeuvre of eminent German cabinetmakers such as Abraham Roentgen, who, together with his son David, had by the end of the 18th Century delivered furniture to the French, Austrian, Prussian and Russian royal collections and nearly every princely court in Central Europe. And also to that of the German Jean-Pierre Latz, who, though active in Paris and after his death described as Maître ébéniste priviligié du Roy, worked for illustrious patrons such as Frederick II of Prussia, and Augustus III, Elector of Saxony and King of Poland, and several of his most celebrated pieces are still to be found in Berlin and Dresden.