surmounted by a fleur de pêcher marble top, the cabinet opening to two shelves, stamped G. DURAND four times to the back

Pradère Alexandre, French Furniture Makers-The art of the ébénistes from Louis XIV to the revolution, London, 1989, p. 397 for the model at the musée du Louvre, Paris

Denise Ledoux-Lebard, Le Mobilier Français du XIX Siècle, Les Éditions de l’A🦩mateur, Paris, 2000, p. 181

Maurice Segoura, Weisweiller, Editions d'art Monelle Hayot, Paris, 19✨83, p. 133 for the present model

Overall in good condition and presentation with the usual minor hairline scratches and minute nicks to veneers and carcass consistent with age and use. Extensive tarnishing to gilt-bronze in places also consistent with age and atmospheric conditions through the years. The marble with the usual minute chips to edges, light scratches to surface consistent with age and use, due to placing object on top. A small vein of yellowing filler is visible on the surface. One key present. We would advise the buyer to wax and French polish the veneers to nourish the wood and bring back the former color to this piece of furniture.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Adam Weisweiler repeated this highly successful model à vantaux over his career with slight variations to the design. Patricia Lemonnier notes that from the fifty commodes recorded, forty-three have panels (vantaux). These were usually made from mahogany or burr-thuya, with two or three panels (see lots 86, 89, 96, 100 and 119 in the present sale). A small number, more expensive to make, were decorated with lacquer or pietra dura, see Segoura pp. 30-33.

Gervais-Maximilien-Eugène Durand, (1839- circa 1920) established the Maison Durand firm in 1870, producing top quality eighteenth century style furniture. The business triumphed when the firm participated in the 1889 Paris Exposition Universelle,  obtaining a silver medal and commended as ‘un ébéniste aussi habile que modeste, qui expose pour la première fois les meubles de premier ordre, dont il est à la fois le déssinateur et l'exécutant; il marche sur la voie tracée par les maîtres tel que Beurdeley et Dasson.’ (A caℱbinet maker as skilled as he is humble, he is exhibiting for the first time his furnishing of the hightest standards. He designs and creates them; hi sis on the same path as the great Beurdeley and Dasson).  In 1890, when Durand’s son Frédéric-Louis joined the firm, the name was changed to Durand & Fils.  The firm was located at 12, rue de la Cerisaie, Paris, but subsequently moved in 1900 to 62, rue Saint-Antoine, the old hotel de Sully.