A gilt-bronze-mounted engraved ivory, pewter, fruitwood and amaranth inlaid tulipwood and marquetry commode, in the manner of Charles Topino in Louis XV/XVI Transitional style

of breakfront form, the brèche violette moulded marble top above three long drawers centred by a medallion depicting a scène gallante in a landscape flanked by two musical trophies with two symbols of Love, each side inlaid with a neo-classical vase on cabriole legs, the handles, lockplates and apron cast with ribbons

In overall very good condition. The marble top is most attractive and has some very miniscule chips which are hardly noticeable. The quality of the marquetry is good and it is in overall good condition with some very miniscule restorations e.g infill. There are a couple of scratches on the right side and a very minor chip to the veneer on the front left stile but this can easily be touched up.
"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."

Charles Topino, received master in 1773, was celebrated for his marquetry scenes, such as the skilfull combination of still lives of tea-pots, cups, saucers, vases and ewers with a landscape scene highlighted in ivory as on the present commode. Charles Topino was established at the rue du Faubourg Saint-Antoine and amongst his clientèle were members of the French aristocracy and the marchand-ébénistes including Delorme and Tuart. His pieces were described as being a l'antique' which was the expression for taste of classical derivation in the late 18th century.