Antique 18th-19th Century Commodes.
Antique 18th-19th Century Commodes
THE COMMODE EVOLVED slowly during the late 18th century, only gradually incorporating Neoclassical elements into its design. In its early transitional stage, in the 1760s, its shape retained many Rococo features, such as rounded corners and cabriole legs, but, the case became more rectangular and the decoration Neoclassical. However, by the 1770s, the shape of commodes had also been refined, as commodes became plainer and more linear in design, with straight legs. Their angular shape was sometimes augmented by the adoption of a breakfront — the result of inset drawers being placed on either side of protruding drawers — a feature that was particularly popular.
By the 1790s, the French commode generally had two or three short frieze drawers with long parallel drawers below them. Columns of term figures, headed by female masks in Classical or Egyptian garb, flanked the drawers. The columns were also often headed by engine-turned, plain, Tuscan, gilt-bronze capitals. Commodes with three deep drawers on short feet turned like tops were also common.
In the 1770s and 80s, commodes with sumptuous ormolu mounts and pictorial marquetry were still made for royal households, but decoration became more sparing after 1790.
Mounts were rare and plain ring handles and escutcheons, inspired by simple Grecian design, were used. Transitional commodes used satinwood veneer or mahogany but, as designs became more refined, plain, well-figured wood such as mahogany, or fruitwood for provincial pieces, was used with marble tops. Decoration was provided by moulded wood, ebonized columns, and grisaille panels.
In Britain the side cabinet became plainer but was still of good quality. No particular shape was favoured, but some designers were influenced by Egyptian campaigns. Italian designers used walnut, olive, and tulipwood, combining a pictorial frieze drawer with two plain drawers. Geometric marquetry was used to emphasize the commode’s rectangular shape.
The rounded corners of the case Crossbanded veneers and light are inlaid with three rectangular boxwood string inlays emphasize panels corresponding to the the edges of the drawers. depths of the drawers.
Lion’s head brass pulls like these became popular towards the end of the 18th century.
Hepplewhite COMMODE.
This commode has three walnut-veneered drawers. Its skirt is slightly shaped and it has short, cabriole legs with carved toes.
ITALIAN COMMODE.
This rectangular walnut commode has three drawers, the top one narrower than the two below. Its drawers have floral marquetry and a central oval inlaid with an architectural scene. Its handles are lion’s head masks with a circular pull held in each lion’s mouth. c.1780.
ENGLISH CHEST OF DRAWERS.
This mahogany william and mary chest of drawers is serpentine in shape. It has a moulded edge, four graduated drawers, a moulded plinth, and the piece terminates in four ogee bracket feet. The top drawer of the chest is fitted as a dressing chest. c.1770.
GERMAN COMMODE.
This rosewood commode’s rounded, breakfront shape is echoed in the conforming top, which slightly overhangs the case. It has three drawers of equal size with Rococo-style drawer pulls. Its base moulding is shaped and the case stands on small bracket feet. c.1770.
PARISIAN A LA GRECQUE COMMODE.
This commode has three drawers, the upper one hidden by an applied ormolu entrelac frieze. Its two lower drawers are covered with a veneer pattern. The four cabriole legs end in feet ornamented with sabots. c.1775.
SWEDISH COMMODE.
This breakfront commode, with three small drawers flanking three larger central drawers, is closely related to French styles. This one is slightly heavier, particularly in the canted corners and the marginally tapering legs.
PARISIAN MARBLE-TOPPED COMMODE.
This rectangular commode has three drawers, and doors in the central section, flanked by a single door on each side. It has rounded pilasters on the sides that connect with its turned and tapering legs. It has circular escutcheons with swags, and circular pulls.
MILANESE VENEERED COMMODE.
This kingwood-veneered commode has three long drawers, a straight apron, and square, almost bracket-shaped legs. Its light, distinctive colour is a result of the inner sapwood of the kingwood being used for the veneer. Its pulls are Neoclassical in design. c.1790.
ITALIAN COMMODE.
This rectangular fruitwood commode has three drawers, the upper one narrower than the others, and stands on short, tapering feet. It has a floral inlay, and its central cartouche, outlined in a darker veneer, is inlaid with birds and flowers. c.1780.
SWEDISH COMMODE.
This three-drawer commode has a marble top. Its case has canted corners, as do the feet, which taper slightly towards the base. Its side panels and drawers are veneered, and the central drawer has an inlay of musical instruments c.1790.
FRENCH COMMODE.
This three-drawer walnut commode has a moulded top over three graduated panelled drawers and a shaped and moulded apron.
Short, scroll feet, each with a block terminus, support the case. It is decorated with pierced, foliate C-scroll escutcheons and handles. The style of this commode is provincial and rather old-fashioned. c.1765. W.139cm (54 ‘ 7). 4
FRENCH VENEERED COMMODE.
This commode has a breakfront shape, created by three short drawers inset either side of three protruding long drawers. It has a moulded
white marble top and geometric parquetry veneer, which includes kingwood, tulipwood, and rosewood. The cabriole legs are squared and veneered, and terminate in gilt-metal sabots. c.1770.
FRENCH DEMI-LUNE COMMODE.
This mahogany commode has a semicircular, or demi-lune shape. It contains three central drawers, and curved side doors, which open to
reveal shelves. It has a marble top, gilded bronze escutcheons that are Neoclassical in design, and pulls with swags surrounding them. c.1795.