A semi-circular commode veneered in harewood and satinwood, with inlay of tulipwood, burr walnut and holly. The front is divided into three sections, the central one centreing on an oval reserve inlaid with a bunch of flowers tied with a ribbon. The side panels centre on tall urns. The ground is inlaid all round with swags of laurel, pendants of leaves and other smaller motifs.

A semi-circular commode veneered in harewood and satinwood, with inlay of tulipwood, burr walnut and holly. The front is divided into three sections, the central one centreing on an oval reserve inlaid with a bunch of flowers tied with a ribbon. The side panels centre on tall urns. The ground is inlaid all round with swags of laurel, pendants of leaves and other smaller motifs. The top shows deep cross-banding inlaid with anthemia (formalised honeysuckle) alternating with flower heads, in a pale wood, with an outer, narrower cross-banding of tulipwood, with an inset, chequered edge stringing in dark and light woods. The harewood veneered ground is inlaid in the centre of the back with a half oval, enclosing a rayed motif similar to an umbrella. The ground in front and beside this is inlaid with a symmetrical design of a bow of striped ribbon (the engraved detail showing both white and black mastic) securing two serpentine strings of flowers and foliage, these very open and light. One string is composed of shamrock leaves in holly, one of large scrolls of small leaves with small flowers (not identified).

In 1922, the commode was in the collection of Frank Partridge (from department files).

This is attributed to William Moore of Dublin on the basis of its similarity to a commode supplied by Moore to the Duke of Portland in 1782 when he was Viceroy of Ireland (according to an ivory label on the back). William Moore trained with Mayhew & Ince in London before moving to Dublin, and the influence of their house style on his is very evident in the Portland commode, both in the semicircular form and the style of marquetry. It has been suggested that he may in fact have simply imported the commode from Mayhew and Ince and retailed it to the Duke of Portland; but there are subtle differences in Moore's style, particularly in the rather less accomplished marquetry, which suggest that the Portland commode was genuinely a product of his workshop, and that pieces like W.56-1925 can very reasonably be attributed to him. There are also similarities between this commode and one at Corsham Court, Wiltshire, the bill for which is dated 1772.

In the 18th century a commode was a type of low cabinet or chest of drawers, used in grand dressing rooms and drawing rooms. It was often intended more for display than for any practical function. Commodes usually had a curved (often serpentine) shape and were often ornamented with marquetry or painted decoration. The semicircular type seen here was made fashionable in Britain in the 1770s and 1780s by the neoclassical architect Robert Adam, who often used such geometric shapes in his designs.

The history of this example is unknown, but it was almost certainly made in Dublin by William Moore, who supplied a very similar commode to the Duke of Portland in 1782. William Moore trained in London with the prominent cabinet-making firm of Mayhew & Ince, and his marquetry is very similar to that on pieces from their workshop (such as the Duchess of Manchester's cabinet also in the V&A's collection, W.43-1949).

W.56:1 to 3-1925