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Continental walnut three drawer commode on cabriole supports (with alterations), 109cm wide x 62cm deep x 82cm high

Three George III mahogany pot cupboards comprising; a commode example, with a tray top, and brushing slide, over two doors and a drawer, 60cm wide45cm deep77.5cm highand another tray top example, over a frieze drawer and two doors,53cm wide46cm deep79cm highand another,with a single door and later rail,42cm wide35cm deep76cm highCondition ReportFirst example) Watermarks and wear to the top. The handle is missing to one door. The drawer has been converted. Second example) Repolished. Repaired split to the top. Splits and scuffs to one side.Third example) Knocks and wear throughout.

A satin birch commode 19th century, North European, the serpentine top over three long drawers, and canted corners,95cm wide53cm deep80cm highCondition ReportThe back leg is detached but present. Historic flight holes. Minor discolouration and losses.

A Louis XV style kingwood commode c.1900, of serpentine outline with marble top and vernis martin decorated panel doors, each depicting classical ruins, applied gilt mounts on sabot116cm wide49cm deep112cm highCondition ReportGood overall condition

Small French Lacquer Commode, in Louis XVI. manner, curved body on four feet, two drawers with marble top, oak wood with Chinese lacquer decorations in multi colours, original bronze mounts, one lock, key missing, black marble top with white and grey veins, Paris 19th century, 106 x 82 x 48 cm

A Georgian nightstand raised on tapering supports, an upholstered piano stool; a child's rush seated chair; a child's commode; a swing framed toilet mirror; and a 19th Century mahogany nightstand fitted single drawer

HARLEQUIN COMMODE, 19th century Continental craquelure painted with three long drawers and bracket supports, 110cm x 43cm x 78cm H.

HALL COMMODE, 19th century French Napoleon III walnut of adapted proportions with five long drawers (including a plinth drawer), 118cm x 43cm x 96cm H.

SERPENTINE COMMODE, Louis XV style painted with floral sprays containing two short and two long drawers, 87cm H x 112cm x 57cm.

A Georgian mahogany tray top Commode / bedside Cupboard, with two cupboard drawers over pull out drawer, drawer inset with later gilt tooled writing skiver, with alterations, W 55.5 cm x H 80 cm x D 47.5 cm.

A 19th century French kingwood and marquetry demi-lune Commode / Chest of drawers, of small proportions, three quarter pierced gallery set on marble top, above three drawers with decorative foliate inlay and banding, with gilt metal ormolu mounts, raised on frontal gilt metal claw feet, W 70 cm x H 78 cm x D 37 cm.

A George III Carved Mahogany Chippendale-Style Serpentine Commode, late 18th century, the moulded top with carved border above two oak-lined drawers with original brasses, two cupboard doors below, all between carved canted stiles, the C-scroll and foliate-carved apron on cabriole legs with ball and claw feet106cm by 60cm by 88cm

A French Louis XV-Style Rosewood, Kingwood, Floral Marquetry and Gilt-Metal-Mounted Serpentine Commode, late 19th century, the top richly inlaid with acanthus leaves and C scrolls above three oak-lined drawers with rococo-style cast handles and escutcheons, all between scrolled mounts and capped feet 114cm by 54cm by 84cmProvenance: A Private Estate, North Yorkshire Slightly faded but uniform in colour overall. Generally good condition. The top section has general scratches consistent with age. The right-hand end panel has some minor shrinkage splits (as photographed). There are some small sections of veneer missing and some very small areas which have been patched. Overall good. Please see further images.

A Late 19th Century Mahogany and Crossbanded Serpentine Commode, in George III style after a design by Henry Hill of Marlborough, the moulded top above a pull-out brushing slide and three deep mahogany-lined drawers, the wavy shaped apron on splayed feet124cm by 62cm by 92cm

Commode, as a mahogany chest of drawers, with turned wooden handles. The top lifts to the vertical to expose the lidded pot70 x 66 x 41cms

19th century mahogany toilet commode / shaving cupboard, the top lifts to reveal a mirror and empty enclosures above two drawers, the bottom reveals a commode on square legs and casters, 97cm high x 44cm wide x 49.5cm deep

A Georgian-style small mahogany chest fitted four long graduated drawers with brass swing handles, & on bracket feet, 60.5cm wide x 71.75cm high x 48.25cm deep (19thC, converted from a commode).

A George IV mahogany tray top commode with tambour shutter and apron-drawer, adapted 81cm h; 46 x 55cm Cosmetically restored

A mahogany and marquetry commode, 20th c, in George III style, 84cm h; 58cm x 144cm Top slightly marked and scratched, somewhat dusty from storage in an outbuilding

A 19th century French commode, width 96cm, depth 49cm, height 93cm. Condition - fair

A VICTORIAN MAHOGANY COMMODE, the hinged lid enclosing a ceramic pot, a pull out foot rest, raised on turned legs, width 43cm x depth 40cm x height 40cm, along with two hanging corner cupboards (condition report: marks, scuffs, discolouration, other signs of wear and usage) (3)

COMMODE, French Louis XVI style, Kingwood and silvered metal mounted with three long drawers and Brèche violet marble top, 150cm W x 54cm D x 91cm H.

GRANGE COMMODE, of serpentine form with two drawers with star detail handles, ebonised with distressed and antiqued finish, 80cm H x 106cm W x 59cm D.

Louis XV style kingwood and tulip wood bombe commode with all over geometric inlay, 2 doors, each simulating drawers with rococo handles, and gilt metal mounts, on splayed feet, 79 x 114 x 54.5cm approx., (defects)

A Victorian cylinder commode stoolDiameter 42cm x height 48cm.No liner.

A Louis XV ormolu mounted bois satine, amaranth, stained fruitwood and marquetry serpentine commodeStamped for Jean-Pierre Latz, 1750-1760The brèche d'Alep moulded marble top above two drawers sans traverse inlaid with ribbon-tied flowering branches enclosed by a rocaille scrolled ormolu frame with bombé sides conformingly inlaid with floral sprays, on slender legs surmounted by pierced foliate scrolling chutes and conforming sabots, stamped: 'I.P. LATZ' to the top, 130cm wide x 65cm deep x 83cm high, (51in wide x 25.5in deep x 32 1/2in high)Footnotes:ProvenanceFrom the collection of the late Cornelis Paulus van Pauwvliet.Salomon Stodel, Amsterdam.Jean-Pierre Latz, (1691-1754), maître ébéniste c.1740.Born in 1691 in Cologne, Latz moved to Paris in 1719 and in 1739 married Marie-Madeleine Seignet, daughter of a well-connected property developer. His business evidently prospered as by 1741 he was appointed ébéniste privilegié du Roi, which enabled him to exercise his profession freely without entering the guild as a master. Latz quickly became one of the most talented ébénistes under the reign of Louis XV. The exceptional quality of his production and the diverse range of his creations quickly secured him directly and via different marchands-merciers a demanding and refined international clientele. Among his prestigious clients were King Frederick II of Prussia, Augustus III King of Poland and Elector of Saxony, and Duchess Louise-Elisabeth of Parma, the eldest daughter of Louis XV. As with the renowned cabinetmaker Charles Cressent before him, Latz also contravened guild regulations by casting his own bronzes. Latz's work is predominantly characterized by floral marquetry and superbly chased ormolu mounts.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A George III mahogany serpentine commode attributed to Henry Hill of Marlborough (active c.1740-d.1778)1765-1770The top with an ebony line-inlaid border and a reverse ogee moulded edge, above one long mahogany lined drawer enclosing three divisions, over two long graduated mahogany lined drawers, flanked by keeled angles each mounted with acanthus, floral and line-incised cartouche cast clasps, with leaf-interspersed chute mounts terminating in rocaille and foliate wrapped opposing C-scroll sabots, on splayed front legs and square section rear legs, with a shaped apron below, the top drawer originally fitted with a sliding top, lidded compartments and probably also a dressing mirror, with red wash to the underside and original handles, there is a paper label to the interior which reads: 'SIR J.D. ASTLEY, BART, From: Bedroom, No. Corridor', also stamped: 'EDWARDS & ROBERTS', 109cm wide x 61cm deep x 85.5cm high, (42 1/2in wide x 24in deep x 33 1/2in high)Footnotes:ProvenanceThe present lot formerly belonged to Sir John Dugdale Astley, 3rd Baronet (1828-1894).A closely related serpentine commode attributed to Henry Hill of Marlborough sold Christie's, London, 23 July 2020, Wilton Crescent: A Robert Kime Interior, lot 152. Both the offered example and this comparable share a number of characteristics in common, which are: elegant serpentine profiles; prominent moulded top edging; 'book-matched' flame figured drawer front veneers; cabriole angles; and distinctive shaping or 'waving' to their aprons. Added to this, they have very similar handle mounts. In terms of construction, whilst the output of Henry Hill tends to be typified by the employment of pine drawer bottoms, it is notable that both of these particularly fine models incorporate drawers made solely of mahogany. There is at least another model of this type recorded as having mahogany lined drawers and it is illustrated in L. Wood, Catalogue of Commodes, 1994, London, p. 205. A further variant of interest, one possibly attributable to Henry Hill, sold Christie's, London, 15 November 2017, The Collector, lot 6. Although this also has a number of the same aforementioned elements in common with the present, as well as previously referenced, commodes, perhaps most interesting of all is the fact that these two both incorporate the fairly unusual feature of the cockbeading continuing down the drawer sides so as to conceal any dovetailing. Evidently this constructional aspect is apparent on some other examples likewise attributed to Hill, as referred to in Ibid, p. 66, fig. VI. The French style angle mounts on the above compare relatively closely in style, design and even execution to those appearing on a version attributed to the Marlborough cabinet maker, which sold Christie's, London, 28 November 2002, English Furniture, lot 120.As already referenced, the book matched flame figured veneering to the drawer fronts of this lot is often a distinctive aspect of serpentine commodes either known to have been made by, or attributed to, Henry Hill of Marlborough. However, other notable elements which also recur throughout much of this renowned maker's output can also be found on the offered example and these include: a serpentine profile, cabriole angles and a 'scalloped' apron. Such characteristics appear on a number of commodes attributed to Hill that are in the Lady Lever Art Gallery as well as featuring in L. Wood, Catalogue of Commodes, 1994, London, No. 4, pp.'s 64-73.Lucy Wood illustrates therein three closely related versions (in order of similarity): a mahogany commode, formerly with Mallett; a commode sold Christie's, London, 23 February 1989, lot 131 and a pair in the collection of The Rt. Hon. Lord Methuen at Corsham Court, Wiltshire, a documented Henry Hill commission. A further similar chest with identical profile is in the Victoria & Albert Museum, London, and illustrated M. Tomlin, Catalogue of Adam Period Furniture, London, 1982, p. 180.Though Hill's furniture commissions were largely from Wiltshire families, they were among some of the most sophisticated patrons of the era. One exception was the commission for Sir John, later Lord Delaval, who was also a patron of the Royal cabinet-marker, John Cobb. Delaval was unique in that furniture made by Hill was for Lord Delaval's London house.An old label to the interior of the present lot refers to Sir John Dugdale Astley, 3rd Baronet, who was almost certainly a previous owner. An eccentric character, Sir Astley was a member of the Scots Fusilier Guards from 1848 to 1859, serving in the Crimean War and would later retire as a Lieutenant-Colonel. Towards the end of his military service, Sir Astley married Eleanor Blanche Mary Corbett, heiress to Elsham Hall, North Lincolnshire – with his finances and future now relatively secure, Sir Astley devoted his life to horse racing, boxing and pedestrianism (an early form of competitive walking).His particular devotion to horse racing led to him becoming a popular figure within the scene, acquiring the nickname 'The Mate' on account of his gambling habit and ability to both win and lose vast sums of money. Before his death, Sir Astley wrote a book detailing his sporting escapades; if the foreword of this book is to be believed, it was predominantly written in order to fund his lifestyle, having spent a majority of his money on horses. It proved to be a success and was in fact the first recorded use of the phrase 'like a duck to water', referring to his natural shooting ability.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A George III mahogany, goncalo alves crossbanded, sycamore and fruitwood marquetry linen pressCirca 1775, almost certainly made by a cabinet maker operating either on or near St. Martin's Lane in LondonWith shaded inlay and stringing, the swan neck pediment with a reverse ogee moulded cornice and rosette inlaid terminals, inlaid with a pair of Neoclassical urns flanking a central oval patera, above a flute inlaid frieze interspersed with circular fan medallions, over a pair of quarter segmented and oval moulded panelled doors inlaid with quartered rosette angles, enclosing five cedar, mahogany and oak lined slides, with two short and two long graduated oak lined drawers below, on shaped bracket feet, 127cm wide x 61.5cm deep x 218cm high, (50in wide x 24in deep x 85 1/2in high)Footnotes:A couple of the constructional characteristics of the offered lot suggest that it was made by one of the renowned cabinet makers located either on, or just alongside, the historic St. Martin's Lane in London during the latter half of the 18th century. These include the presence of a thin red wash on some of the secondary timbers - which was believed to have assisted in the prevention of wood worm infestation - and the use of concave quarter-fillets in the construction of both the drawers and the slides.Certain cabinet makers operating at the highest level of the business during the 18th century were based either on St. Martin's Lane, or in a couple of cases just off this historic London road. All of these workshops, including those run by renowned figures such as William Vile, John Cobb, William and John Linnell and of course arguably most importantly, Thomas Chippendale, produced pieces of the finest quality and in the most fashionable styles of the time. Typically, this meant that their output employed ingenious methods of construction. One such method was the use of concave quarter-fillets to serve as strengthening for the drawers in case furniture. Some examples which utilise this constructional feature include the pair of lacquer commodes, either by or attributable to John Cobb, from St Giles' House, Dorset - sold by the Earl of Shaftesbury, Christie's, London, 11 November 1999, lot 100 - and a padouk commode sold anonymously, Christie's, London, 30 November 2000, lot 134. A further related serpentine chest attributed to Thomas Chippendale which employs this method and includes 'S-pattern' key holes, sold anonymously, Christie's, London, 25 November 2004, lot 79.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A Dutch late 18th century ormolu mounted kingwood, satinwood, amaranth, tulipwood and fruitwood marquetry secretaire à abattant attributed to Matthijs Horrix (1735-1809)Of unusually small size, the grey marble rectangular top with moulded edge above a veneered dental mounted frieze and a floral inlaid fall enclosing a fitted interior of four drawers, a central cupboard, with a further drawer and an open compartment, the base fitted with three drawers, flanked by angled corners mounted with columns, the sides inlaid with ribbon tied musical trophies with a guilloche border to the base on faceted tapering legs inlaid with trailing bellflowers, 81.5cm wide x 44.5cm deep x 109.5cm high, (32in wide x 17.5in deep x 43in high)Footnotes:ProvenanceThe present lot was formerly with Pieter Hoogendijk Antiquairs, Baarn, 1996.From the collection of the late Cornelis Paulus van Pauwvliet.ExhibitedPieter Hoogendijk Antiquairs, PAN Amsterdam, 1996.LiteratureAnnigje Hofstede, Nederlandse Meubelen: Van Barok Tot Biedermeier, 1700-1830, 2004, fig. 303, p. 181.Matthijs Horrix (1735-1819) was the foremost cabinetmaker in Holland during the second half of the eighteenth century. Born in Germany near the Dutch border, he was admitted to the furniture makers' guild in The Hague in 1764 and straightaway set out upon a brilliant career. He quickly became the principal supplier of veneered furniture to the stadholder, Prince William V of Orange, who in 1767 married Princess Wilhelmine of Prussia, and to the aristocratic clients that converged onto The Hague, the city where the court, the government and the embassies were established. But his workshop, which soon became the largest in the city and which, unusually, he extended to encompass chair-making and upholstery in the manner of the great London furniture firms, also worked for less exalted clients. Horrix was all but unique in acquiring fame throughout the seven United Provinces that together constituted the Dutch Republic: when clients in faraway towns wished to obtain a truly exquisite piece of furniture, they turned to Horrix. Nothing is known about Horrix's training, but it may be assumed that he spent time as a journeyman in Paris, where of course many of the leading ébénistes were of German origin. When Horrix named his shop in The Hague 'In the commode of Paris', this was most likely intended to keep the memory of an apprenticeship in the French capital alive, as well as highlighting his principal speciality. All over Europe, a floral marquetry commode in the Parisian style became the fashionable piece of furniture par excellence in the early 1760s, and Horrix was undoubtedly the main exponent of this trend in The Hague. For the marriage of the stadholder in 1767, Horrix was commissioned to deliver considerable quantities of marquetry furniture, doubtless all in the latest French manner. Right until William V and his family were forced to flee to England because of the French invasion in 1795, he remained their principal cabinet maker. Princess Wilhelmine, who mentions him in several of her letters, had a special predilection for his work. She ordered many fine pieces for her private apartments and actively influenced stylistic decisions: for example, in 1780 she supplied Horrix with Japanese lacquer panels to set into commodes. Marquetry furniture inlaid with Chinese or Japanese lacquer is a staple of late eighteenth-century Dutch furniture, and Wilhelmine may have played an important role in fostering this taste. In 1790-1791 Horrix provided the panelling, inset with Chinese lacquer, and all the lacquer-mounted furniture for the new Audience Chamber in Huis ten Bosch, the stadholder's palace outside The Hague, which is now the principal residence of King Willem Alexander and Queen Máxima.It wasn't until the 1990s that part of Horrix's work was identified. Although the French invaders sold nearly all of the stadholder's collections after 1795, a few marquetry commodes in the Dutch royal collection were recognized as being part of his deliveries from the late 1760s. Comparison with these rare items led to further attributions, and a stylistic development could be traced that culminates in the lacquer-mounted room at Huis ten Bosch. Cees Paulus van Pauwvliet was deeply interested in this development, and became very keen to own some of Horrix's work. The large and bulbous Louis XV commodes that are typical of the cabinetmaker's early production seem not to have caught his fancy, or may simply have been too big for his apartment. Instead, he acquired a fine group of two marquetry commodes including the present lot of a small secretaire in the Louis XVI manner. These can be securely attributed to Horrix because of close stylistic affinities with documented pieces. Inevitably, there is now a trend to attribute any fine piece of Dutch marquetry furniture to Horrix, especially when it is inlaid with lacquer panels. However, Paulus van Pauwvliet went for the best; typically, he was so interested in the whole issue that he also bought a marquetry secretaire in the French manner that clearly is not by Horrix, but by an anonymous, perhaps slightly less gifted Dutch maker (lot 54).On Matthijs Horrix and his work, see Reinier Baarsen, 'In de commode tot 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.'s 161-255.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A late Louis XV ormolu mounted tulipwood, amaranth, sycamore and stained fruitwood parquetry secretaire à abattant 'à la Grecque' by Jean-Francois Oeben (1721-1763)Circa 1765Of unusually small size, the brèche d'Alep marble top with canted corners above a secretaire fall enclosing a fitted interior with four drawers and three pigeon holes above a tambour drawer all inlaid with geometric parquetry enclosing a shelf, a drawer and a hinged strong drawer, flanked by inlaid fluted canted corners, above block feet with ormolu mounts and sabots 'à la grecque', the carcass top stamped three times: 'J.F.OEBEN', 77cm wide x 36cm deep x 96cm high, (30in wide x 14in deep x 37.5in high)Footnotes:ProvenanceFormerly with Adriano Ribolzi, Monaco, where it was purchased in 1996.From the collection of the late Cornelis Paulus van Pauwvliet.ExhibitedAdriano Ribolzi, TEFAF, Maastricht, 1996.Jean-Francois Oeben, ébéniste du Roi (in 1754), recu maître ébéniste in 1760.This elegant petit secrétaire 'à la grecque', probably conceived for a child, with its elaborate cube parquetry pattern, first evolved in the workshop of Jean-François Oeben around 1755-1760 (see F.J.B. Watson, Louis XVI Furniture, 1960, p. 68). The design, with its stylized Greek-key ormolu encadrement framing mounts, clearly characterizes the nascent Neo-Classicism of the goût grec style of the late Louis XV period.Jean-François Oeben (1721-1763) was born in Germany and must have moved to France before 1749, when he married the daughter of the ébéniste François Vandercruse, himself father of the celebrated Roger Vandercruse known as Lacroix (RVLC). Oeben was trained by the son of André-Charles Boulle from whom he rented workshop space at the Galeries du Louvre.When the latter died, Jean-François Oeben was granted a Royal warrant on 15 December 1754, enabling him to move into the Manufacture des Gobelins, as well as receiving the title of ebéniste du Roi. At that point, he employed his younger brother Simon as a journeyman. During the same year, his name appeared in the Journal du Garde-Meuble de la Couronne, having delivered a commode for the apartment of the Dauphin in Versailles. In 1756, he moved to the Arsenal when a Royal brevet granted him and his wife the life tenancy of a workshop. In 1760 he began work on the famed bureau du Roi, later completed by Jean-Henri Riesener who until then had been his principal assistant. In 1761, Oeben became a maître without requirement to pay the fees generally demanded. When he died in 1763, his widow took over his business and choose Riesener to run it, who she would eventually marry.Oeben was both an ébéniste and a mécanicien. It is only because he enjoyed Royal protection that he was able to combine two activities that guild regulations prohibited any craftsmen from practicing at the same time. Therefore, he was able to specialize in luxurious pieces of furniture incorporating elaborate mechanisms such as tables à la Bourgogne, tables de toilette or à écrire fitted with sliding tops.A nice feature of this petit secrétaire is the construction of the panelled back, which has three screws to the base, which when removed allows the back to slide down, should the keys ever be lost and the owner needs to access the inside.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

An important Dutch late 18th century ormolu mounted kingwood, tulipwood, harewood, amaranth and fruitwood marquetry commode attributed to Matthijs Horrix (1735-1809)The breakfront grey marble top above a veneered mounted dental frieze and a central panelled door inlaid with an olive leaf tied floral medallion flanked by ribbon tied musical trophies surmounted by simulated drawers, the central door enclosing a single shelf, the angled corners fitted with columns, the sides inlaid with Neoclassical urns, above a guilloche frieze, on faceted tapering legs, 117cm wide x 57cm deep x 92cm high, (46in wide x 22in deep x 36in high)Footnotes:ProvenanceFrom the collection of the late Cornelis Paulus van Pauwvliet.Pieter Hoogendijk Antiquairs, Baarn, where probably purchased 1996.ExhibitedPieter Hoogendijk Antiquairs, PAN Amsterdam, 1996.LiteratureAnnigje Hofstede, Nederlandse meubelen: Van Barok Tot Biedermeier 1700-1830, 2004, fig. 234, p. 147.Matthijs Horrix (1735-1819) was the foremost cabinetmaker in Holland during the second half of the eighteenth century. Born in Germany near the Dutch border, he was admitted to the furniture makers' guild in The Hague in 1764 and straightaway set out upon a brilliant career. He quickly became the principal supplier of veneered furniture to the stadholder, Prince William V of Orange, who in 1767 married Princess Wilhelmine of Prussia, and to the aristocratic clients that converged onto The Hague, the city where the court, the government and the embassies were established. But Horrix's workshop, which soon became the largest in the city and which, unusually, he extended to encompass chair-making and upholstery in the manner of the great London furniture firms, also worked for less exalted clients. He was all but unique in acquiring fame throughout the seven United Provinces that together constituted the Dutch Republic: when clients in faraway towns wished to obtain a truly exquisite piece of furniture, they turned to Horrix. Nothing is known about Horrix's training, but it may be assumed that he spent time as a journeyman in Paris, where of course many of the leading ébénistes were of German origin. When Horrix named his shop in The Hague 'In the Commode of Paris', this was most likely intended to keep the memory of an apprenticeship in the French capital alive, as well as highlighting his principal speciality. All over Europe, a floral marquetry commode in the Parisian style became the fashionable piece of furniture par excellence in the early 1760s, and Horrix was undoubtedly the main exponent of this trend in The Hague. For the marriage of the stadholder in 1767, Horrix was commissioned to deliver considerable quantities of marquetry furniture, doubtless all in the latest French manner. Right until William V and his family were forced to flee to England because of the French invasion in 1795, he remained their principal cabinetmaker. Princess Wilhelmine, who mentions him in several of her letters, had a special predilection for his work. She ordered many fine pieces for her private apartments and actively influenced stylistic decisions; for example, in 1780 she supplied Horrix with Japanese lacquer panels to set into commodes.Marquetry furniture inlaid with Chinese or Japanese lacquer is a staple of late eighteenth century Dutch furniture, and Wilhelmine may have played an important role in fostering this taste. In 1790-1791 Horrix provided the panelling, inset with Chinese lacquer, and all the lacquer-mounted furniture for the new Audience Chamber in Huis ten Bosch, the stadholder's palace outside The Hague, which is now the principal residence of King Willelm Alexander and Queen Máxima.It wasn't until the 1990s that part of Horrix's work was identified. Although the French invaders sold nearly all of the stadholder's collections after 1795, a few marquetry commodes in the Dutch royal collection were recognized as being part of his deliveries in the late 1760s. Comparison with these rare items led to further attributions, and a stylistic development could be traced that culminates in the lacquer mounted room at Huis ten Bosch. Cees Paulus van Pauwvliet was deeply interested in this development, and became very keen to own some of Horrix's work. The large and bulbous Louis XV commodes that are typical of the cabinetmaker's early production seem not to have caught his fancy, or may simply have been too big for his apartment. Instead, he acquired a fine group of two marquetry commodes (tincluding the present lot) and a small secretaire in the Louis XVI manner. These can be securely attributed to Horrix because of close stylistic affinities with documented pieces. Inevitably, there is now a trend to attribute any fine piece of Dutch marquetry furniture to Horrix, especially when it is inlaid with lacquer panels. However, Paulus van Pauwvliet went for the best; typically, he was so interested in the whole issue that he also bought a marquetry secretaire in the French manner that clearly is not by Horrix, but by an anonymous, perhaps slightly less gifted Dutch maker. On Matthijs Horrix and his work, see Reinier Baarsen, 'In de commode tot 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.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A mahogany tray top commode, 48 cm wide, another, a triptych mirror, and a pair of lamps (5)

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A 19th Century Mahogany Chiffonier, shaped gallery back above three short drawers and a pair of gilt-metal grille doors, all raised on ogee moulded bracket feet, 121cm by 59cm by 97cm, together with a A George III Mahogany Bedside Commode, shaped serpentine gallery with handles, above twin doors and sliding fitted base, with square legs, 49cm by 45cm by 81cm (2)A good condition overall. Expected wear and superficial marks. Drawers and doors opening freely. No signs of woodworm damage. Curtains and rails later additions.

FRENCH MARBLE TOPPED BURR WALNUT COMMODE CHEST, LATE 19TH CENTURY with canted corners, with four long drawers, on pad feet97cm high, 24cm wide, 58cm deep Condition overall is good, the marble has some light damage around the edges, also some cracking / splitting present around the chest detailed in additional images now available.

20th century French marble-topped kingwood serpentine commode chest of drawers, the moulded top over three 'book-matched' drawers with rococo style escutcheon and handles, between sabots, 113cm x 50.5cm x 82cm high

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Italian 18th century A commode with inlay Walnut  Dimensions: 36 in. (H) x 54 in. (W) x 25.25 in. (D)

A Georgian-style mahogany bedside cupboard with cupboard above single drawer, on ring turned tapering legs, together with a George III mahogany commode with hinged lid and faux drawers, on square tapering legs with castors, 53 x 46cm (2).

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Notenhouten Louis XV commode, opstand met geschulpte kuif, 2 glazen vitrinedeuren en 2 laadjes, onderkast met 3 orgelgebogen laden met bronzen beslag op 4 klauwpoten, 18e eeuw, 215 x 120 x 60 cm.

Eikenhouten Empire commode met 4 laden geflankeerd door pilasters en messingbeslag, Frankrijk, 19e eeuw, 93 x 97 x 48 cm. Conditie: Messingbeslag incompleet.

Kamferhouten commode met opstand en 6 laden op onderstel, met gestoken reliëf van vogels en figuren in landschap, China, circa 1900-1920, met label achterzijde, 145 x 92 x 45 cm.

Mahoniehouten Louis XVI commode met 2 laden met koperenbeslag op taps toelopende poten, Frankrijk, circa 1800, 71 x 64 x 45 cm.

Eikenhouten commode met 3 laden en koperen beslag, 19e eeuw, 92 x 95 x 42 cm.

COMMODE, in a painted finish with three drawers, 97cm x 54cm x 80cm H.

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An 18th Century Style Sheraton Revival satinwood demi-lune commode, circa 1890, the top painted with urn of flowers with pearl and foliate swags, the central door painted with three Classical style figures in the manner of Angelica Kauffman within oval wreath cartouche, flanked by a pair of astragal glazed doors, on splayed supports, fitted interior, the sides with glass shelves, approx 108cm wide x 100cm high  Further details: split to central door painted panel, craquelure effect to paint,. Marks, scratches and abrasions consistent with age and use Provenance: The Old Vicarage, Breedon-on-the-Hill, Derbyshire 

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A second Empire mahogany commode, third quarter 19th century, gilt metal mounted, the marble top above three graduated drawers, on ebonised paw feet to plinth base, 89cm high, 130cm wide, 60cm deepCondition Report: scratches and knocks throughout, two filled splits to left side panel, one large filled split to right side panel, some veneer missing, some lifting to veneer, structurally sound

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