A George III satinwood and marquetry serpentine commode in the manner of John Cobb

the top inlaid with a demi-patera and radial husk chains within a banded lobed harewood border above two banded doors inlaid with giant oval paterae within painted ribbon-tied husk festoons, and painted to the centre with masks of Apollo,  the keeled corners with gilt-brass husk chains, on splayed bracket feet with scroll cast sabot

Overall good condition and patina. Some wear to painted decoration some of which has been refreshed. Unusually narrow proporptions which make it a little unstable. A later section of timber has been attached to the back so that it can be attached to the wall to give further stability.
"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 commode has stylistic affinities with a group of commodes, illustrated in Lucy Wood, The Lady Lever Art Gallery, Catalogue of Commodes, London, 1994, pp.88-97, attributed to John Cobb. The front profile and doors inlaid with oval medallions and serpentine form can be seen on many of these examples.  

Very little is known of the early life of the Royal cabinet-maker John Cobb, (circa 1715-1778) until he entered into partnership with the elder William Vile in 1751. Shortly after this, on 31st May 1755, he married Sukey Grendey and became the son-in-law of the celebrated cabinet-maker, Giles Grendey. On the accession of George III in 1760, Vile and Cobb were granted a Royal Warrant in 1761 to supply furniture to the Crown under the direction of the Master of the Great Wardrobe. Some of their most celebrated Royal commissions are discussed in Geoffrey Beard, `Vile and Cobb, Eighteenth Century London Furniture Makers', Antiques, June 1990, pp.1394-1405. Cobb continued in business for thirteen years after Vile`s retirement in 1764, during which time he produced the documented inlaid commode and two pedestals for Paul Methuen ( 1772) , illus. Lucy Wood, op.cit. p.91. to which the present lot relates,  and which have become seminal to the construction of his identity as a producer of high quality furniture often incorporating a variety of exotic timbers ( cf. Anon., Corsham Court, 1993, p.11, fig. 111).

The documented work of Cobb shows a close understanding of French prototypes, not only in marquetry decoration, but also in construction techniques. It is perhaps notable that in 1772, he was implicated in smuggling French furniture into England through the use of Italian diplomatic bags in an attempt to avoid import duty (cf. Geoffrey Beard and Christopher Gilbert, Dictionary of English Furniture Makers, 1660-1840, 1986, p.182).

The present commode was almost certainly specially commissioned to harmonise with the architecture and proportions of a specific room. Commodes of  this type were generally made to stand on a pier between two windows and with a pier mirror hung directly above it which would reflect the patera on the top and which would be accompanied by torchère stands as in the Corsham examples, on which to stand candelabra, to light the room. Very often their purpose was conceived for ornament rather than for storage purposes. The popular neo classical influences prevalent at the time and promoted by architects such as Robert Adam, can be seen in the present commode in the decoration to the top and doors in the form of the large paterae, which on the doors are centred with a mask of Apollo. The paterae on the doors take the form of a stylised sunburst with the head of Apollo to the centre which is the form in which the sun god was often depicted in ancient Rome and Greece.