van Dam, Berlin
Collection of Catalina von Pannwitz, Berlin and Heemstede, acquired from the above in 1926

Upper drawer with paper label "I27." Marble top probably original, now with restorations, abrasions and chips. Top somehwhat unstable at old restored breaks, recommend securing. Scattered age and constrution cracks, dents and abrasions. Veneer and parquetry with areas of lifting, buckling, minor losses, small restorations and patches. Drawers with later rings and keyplate. Ormolu with some rubbing, oxidation and surface dirt; should enhance with cleaning. In good overall condition.
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.

Overall geometric parquetry was often used by Denizot to decorate his pieces, particularly his commodes à la Grecque. It has been suggested that parquetry containing the interlaced circles found on this piece is actually an imitation of Japanese lacquer; an extremely fashionable, rare and pricey commodity during the eighteenth century. For a commode with this kind of decoration and stamped by Denizot, see Sothebys Paris, March 29, 2007, lot 57. The ormolu mount of the apron and the lower drawer pulls on the present commode are identical while the ormolu guilloche frieze is highly comparable to that found on a commode in the manner of Denizot sold Christie's New York, November 24, 1987, lot 196.
Son of the cabinetmaker Jacques Denizot, Pierre Denizot became master cabinetmaker in 1740. However, presumably because he worked in his father's atelier, he did not sign his pieces until 1760 when he began working in his own studio on the rue Neuve-Saint-Roche. He soon became a recognized craftsman in his own right and eventually supplied numerous pieces to the comte d'Artois for his apartments at the Palais du Temple, at Bagatelle and château de Saint-Germain-en-Laye. In addition, he worked for the duc d'Angôuleme and the comte de Provence. Many of his works were conceived in the new goût grec style of the 1760s that were retailed by the ébéniste Leonard Boudin, whose stamp sometimes can also be found on Denizot's furniture.