A George III padouk and satinwood marquetry commode circa 1770

in the manner of Pierre Langlois, of bombé form with applied gilt-metal mounts,  the top inlaid with a vase of flowers with serpent handles above three small and two long drawers

Overall this piece is in good condition. There has been some patching to the crossbandfing and to the veneers around the drawers. Some minor age cracks to top and sides, old marks and scratches.
"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."

This elegant commode is very much in the French style, a fashion promoted in London from mid 1750s by such cabinet makers as Pierre Langlois  of 39 Tottenham Court Road, London.

Little is known of Pierre Langlois' early life and origins, but he was almost certainly French and probably settled in London some time before the commencement of the Seven Years War in 1756. It is possible he descended from a family of furniture-makers of the same name who were established in Faubourg Saint-Antoine in Paris in the late 17th century and were said at the time to specialise in furniture in the oriental style, imitating `...fort bien les meubles de la Chine'. A connection may also exist with another great cabinet-maker of the same name, Pierre-Eloi Langlois (1738-1805), who worked at this period in Paris and was made maitre menuisier in 1774. A further possibility is that Langlois trained in the Paris workshop of Jean-Francois Oeben, his early marquetry bearing a strong resemblance to the work of this ebeniste.

What is certain is that by 1759 Langlois was working from premises at 39 Tottenham Court Road, London, where he continued to trade until 1781, and that during this period he established himself as one of the leading cabinet-makers in London. The high point of his career was in the 1760s and 1770s when his popularity reached its peak. It was at this time that he produced his finest work, possibly including the present commode. It was during this period also that he attracted the patronage of some of England's foremost patrons, among them the 4th Duke of Bedford, the 6th Earl of Coventry, and Horace Walpole, as well as other members of fashionable society, including the 4th Earl of Cardigan, late Duke of Montagu, Lady Louisa Connolly of Castletown, County Kildare, and her sister, Caroline Lady Holland.

Langlois developed a highly distinctive style of workmanship and design, which was markedly French in character and enjoyed particular success at a time when war with France placed an obvious limit on the importation of French furniture and other luxury goods into England. Langlois' commodes were especially close to the French, although generally with wooden tops rather than marble, an apparent concession to English tradition. As indicated on his trade card, Langlois also specialised in marquetry which was a style not seen in English cabinet-making since the days of William and Mary. A particular feature of Langlois' work was the emphatic use of metal mounts, which were of a pattern used by Oeben and other French furniture makers.