A George III satinwood and inlaid commode, late 18th century, in the manner of John Linnell,

of semi-circular form, the figured top crossbanded with kingwood and centred at the back by a scrolled shell with bell-flowers, the conforming frieze similarly cross banded above two panelled doors enclosing shelves, with conforming panels at each side, each divided by tapered styles headed by paterae, and continuing to square tapered feet

Overall good condition. Old marks and scratches consistent with age and use. Age crack to the top with some replaced crossbandings and losses to stringing, Feet scuffed and with some losses to stringing. Minor chips to veneers and some water marks. Unusual construction.
"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."

The present demi-lune commode is designed in the elegant George III `Roman Fashion' which superseded the rococo in the second half of 18th century. The semi-elliptical form and restrained decoration epitomises the style and is accentuated by finely figured satinwood veneers. Commodes of this form were designed to be placed on the piers between windows. Hepplewhite & Co illustrates a commode of this form in The Cabinet-Maker and Upholsterer`s Guide, published in 1788, pl. 78, the description remarking that ` This piece of furniture is adapted for a drawing room; within are shelves which answer the use of a closet or cupboard... may have one principal door in the front, or one at each end; are made of various shapes; and being used in principal rooms, require considerable elegance.The panels may be of satinwood, plain or inlaid'.

The elegant neo-classical style of the commode owed its ascendency to the architect Robert Adam and in particular to the publication of Robert and James Adam`s Works in Architecture in 1777.  In both his architecture and furniture designs he introduced a new formal order of ornament and form derived from his studies of classical ruins. 

Commodes of this form can be attributed to various makers. More elaborate examples can be seen at Osterley and made by John Linnell, illustrated in Helena Hayward and Pat Kirkham, William and John Linnell, Eighteenth Century London Cabinet Makers, London, 1980, 2 Vols, Vol. II, pl.113-4. For further comparison see Lucy Wood, The Lady Lever Gallery, Catalogue of Commodes, 1994, nos. 23, 27,28 and 31.