An Italian Neoclassical rosewood, tulipwood, sycamore, amaranth, fruitwood and marquetry commode attributed to Gaspare Bassani, Milan, circa 1790

of rectangular form with inset mottled grey and pink marble top above a frieze drawer with arabesque decoration and two large drawers veneered sans traverse, decorated on the front and sides with a central oval figural medallion within scrolling foliate and neo-classical decoration flanked by simulated marble fluted Ionic pilasters on tapering inlaid square legs with gilt bun feet

This exquisite commode is in a very good conserved condition, displaying attractive colours. The faux marble pilasters have possibly been redecorated; the brass bun feet of later date. There is a small loss to the corner of the bottom drawer, and two drawers have their interior liners with small repairs to right hand side. One later wooden strip added to the back board, probably repairing a split. A very attractive piece, ready to be placed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Comparative Literature:
Alvar González-Palacios, Il Tempio del Gusto, Milan, 1986, Vol.II, p. 273, figs. 552 & 553.
Giuseppe Beretti, Giuseppe Maggiolini, L’Officina del Neoclassicismo, Milan, 1994, fig. 104, p. 89.
Giuseppe Beretti, Laboratorio. Contribuiti alla storia del mobile neoclassico milanese, Milan, 2005, p. 92-105.
Enrico Colle, Il Mobile Neoclassico in Italia, Milan, 2005, p. 328. 

This exceptionally refined commode is attributed to the Milanese master Gaspare Bassani, one of the most talented pupils and collaborators of the celebrated late 18^th century Lombard cabinet-maker Giuseppe Maggiolini. The distinctive central medallion depicting a seated youth and on the left side an oval reserve of a cloaked classical figure also both appear on one of a pair of commodes formerly in the Rosebery Collection at Mentmore, sold Sotheby’s 20th May 1977, lot 828  (see Fig.1) and recently attributed to Bassani by Giuseppe Beretti (see Il Ponte casa d’aste Milan, 22nd October 2103, lot 71).  The pair also shares further identical traits including the four distinctive inlaid volutes below the apron at the junction with the feet, as well as the moulded edge inlaid with leaf-tip frieze protecting the inset marble top. This latter element also appears, along with the same marquetry oval of a classical figure with a youth seen on the right side of the present commode, on a Milanese fall-front secrétaire from a private collection illustrated  by Beretti, op. cit., fig.104 p.89, described at the time as ‘Lombard last quarter 18^thcentury’.

The only recorded signed work by Bassani is a games table in marquetry formerly in the Prince Meli Lupi di Soragna collection, first published by Alvar González-Palacios op. cit., p. 273, fig. 553, with a central octagon depicting a classical statue on a plinth inlaid with the words Milano 1789 Gaspare Bassani Fecit.

Beretti now suggests that Bassani can be identified with the hitherto anonymous North Italian cabinet-maker who produced a group of commodes in the style of Maggiolini signed only with the monogram GBM, the initials standing for Gaspare Bassani Milanese, examples of which are reproduced by Beretti, Laboratorio. Contribuiti alla storia del mobile neoclassico milanese, Milan 2005, p. 92-105, and  Colle, op. cit., p. 328. 

Giuseppe Maggiolini (1738-1814) was the son of forester and ran a thriving workshop in his native town of Parabiago outside Milan, celebrated for reviving the noble art of tarsi - marquetry inlay in multi-coloured woods depicting figural and architectural scenes and abundant decorative motifs - that had been a courtly Italian speciality during the Renaissance but was updated by Maggiolini to incorporate neoclassical forms and ornament based on designs by leading Lombard painters and architects of the day including Andrea Appiani, Giuseppe Levati and Giocondo Albertolli.  Maggiolini’s clients included the ruling Habsburg governors of Lombardy and later the occupying Napoleonic court, and he provided both furniture and parquetry floors for the royal palaces in Milan and Monza. In 1793 he was lauded in the acts of the ‘Milan Patriotic Society for the Advancement of Arts and Agriculture’ who hailed him as a ‘painter in wood’ and praised his workshop for creating a new niche industry in fine furniture that contributed favourably to economic development in the region, specifically through its training of a new generation of young cabinetmakers (cited in Colle, op. cit., p. 326). 

Gaspare Bassani would appear to be his most talented pupil, who by 1789 had established his own workshop in Milan and even continued to re-use some of the same marquetry designs from his master’s workshop, though it is unclear whether this was with or without authorisation.

This commode represents one of the finest surviving works by Bassani, not only with its skilful integration of figural marquetry reserves with exquisitely varied neoclassical ornament, but also through the exceptionally rare presence of the simulated marble ionic pilasters on the sides, a seldom encountered element in Lombard case furniture that further enhances the monumental architectonic proportions of the work.