Although no direct comparison to a commode attributed to Matthijs Horrix is possible, the known examples all having been executed in various veneers and floral marquetry; there are certain aspects of design and construction which do correspond to this group of commodes. The present commode, with daring absence of marquetry decoration achieves a striking effect through the quality of the mahogany veneers and strikingly beautiful beading. This subdued decoration accentuates the curvilinear shapes and rounded surface of this commode which has no single straight surface to any of its vertical planes. The outline of the beading with concave cut corners, as wel as the shape of the apron forming the lower edge of the bottom drawer can be found on a commode in the Royal Place Huis Ten Bosch. This commode has similar concave cut corned panels delineated by the background veneer. (R.J. Baarsen, Aspecten van de Nederlandse meubelkunst in de tweede helft van de 18de eeuw, Alphen aan de Rijn, 1993, p. 62, pl 1; p. 84, pl. 7)
Furthermore, the quality of the cabinetwork on the present commode with its thick drawer linings and carcass executed in the best quality oak rule out a lesser maker.
Dutch furniture made in the fashionable XV style was imported into Holland in such large quantities that in the early 1770s cabinet-makers in Amsterdam and The Hague demanded a ban on this threat to their livelihood. As a result, numerous Dutch cabinet-makers emulated the fashionable French style. Although veneered furniture of this type were undoubtedly made in several Dutch towns, it was probably most admired in The Hague where, as the base of the Stadholder's court and foreign embassies, the french court style had been dominent throughout the 18th Century. (R.J. Baarsen,'In de commode van Parijs tot Den Haag, Matthijs Horrix (1735-1809), een meubelmaker in Den Haag in de tweede helft van de achttiende eeuw', Oud Holland 107 (1993), pp. 161-255, p. 163.
The distinctive ornamental gilt-bronze mounts which embellish Dutch furniture in the French style were, however, rarely produced in Holland. Remarkably the mounts of this period can be traced to Britain and appear in sales catalogues of a Birmingham metalwork firm, which was almost certainly manufacturing mounts for export. Variations occur in the mounts of the commodes atrributed to Horrix, although the mounts on the skirt of this commode can be found on three other commodes. (R.J. Baarsen, Aspecten van de Nederlandse meubelkunst in de tweede helft van de 18de eeuw, Alphen aan de Rijn, 1993, pl. 12-14, 24, 32.)