A Louis XVI demi-lune commode Stamped Fidelys Schey, Late 18th century

Louis XVI period half-moon chest of drawers stamped by Fidelys Schey in marquetry of amaranth, sycamore and boxwood; the latter two treated naturally or stained tobacco color and various shades of green on an oak frame. It opens with two drawers with concealed support rails, and two side panels.
The two front drawers are jointly decorated in the middle with a pair of doves perched on a rope from which hangs a trophy featuring sheet music and musical instruments such as the violin, flute, mandolin and other trumpets, resting on a bed of foliage bordered by a quadrilateral square of boxwood fillets. The side panels each hold an ovoid vase overflowing with flowers, set in a panel of boxwood fillets. The tops of the top drawer and the two leaves are adorned with a frieze that unifies the whole, simulating a belt. The belt is decorated with everyday accessories such as vases and pots, both covered and uncovered. The four flat uprights, punctuated by sheathed feet, are inlaid with simulated boxwood and amaranth fluting, above a tapering boxwood fillet cartouche. A harmonious ornamentation of chased and gilded bronzes such as lock escutcheons, drop rings on macaroons and falls with laurel wreath and fluting motifs, as well as a Greek-style clerestory lamp base and keys complete the ensemble. The ends of each of the four legs are set with a sheathed hoof to complete the decor. The whole is topped with a sheet of Arrabida breccia marble, from the ancient quarries south of Lisbon, molded with a concave groove around the edge. Fidelys Schey's stamp is stamped on the top of the right front jamb.
Marble dimensions: width 95.2 cm, height 82.6 cm, depth 42.8 cm.

It should be noted that his colleague Martin Ohneberg, received as Master on July 7, 1773, stamped several chests of drawers of the same model, with decor that was, if not identical, at least very similar. This, combined with the fact that the same Martin Ohneberg drew up an inventory of Schey's possessions on his death in 1788, would suggest that the two masters worked together, or at least that Ohneberg was Schey's preferred subcontractor in the merchant's store run by his wife.

Comparative bibliography :
P. Kjellberg, Le mobilier français du XVIIIe siècle, Dictionnaire des ébénistes et des menuisiers, Paris, 1989, p. 787, fig. E. The Parisian cabinetmaker Fidelis (also spelled Fidely) Schey, was originally from the village of Winterspieren, in the Margraviate of Baden.
At an early age, he obtained the title of deputy of his guild, before becoming one of the Crown's suppliers, ranking among the finest craftsmen of his time. Established on Grande rue du faubourg Saint-Antoine, his luxurious and fanciful furniture was displayed close to his workshop, in a large store run by his wife.
After his death in 1788, the inventory of his wares - drawn up by his colleague Martin Ohneberg - mentions a number of chests of drawers adorned with ormolu in a crude but always beautifully crafted style.

From "Les ébénistes du XVIIIe siècle" by François de Salverte
SCHEY (Fidelis or Fidely), popularly known by his first name alone, which he spelled Fidellij, passed his master's examination in Paris on February 5, 1777, and in 1783 became a deputy or councillor of his guild. Married to a sister of the cabinetmaker Montigny, he lived in the latter's neighborhood, on rue du Faubourg Saint-Antoine, opposite the hospice des Enfants Trouvés. His workshop successfully produced luxury and fancy furniture, such as pedestal tables with toilet glides, chiffonnières, cylinder night tables and secretaries with bookcases.
In 1786, he made several game tables for the Crown, destined for the Château de Fontainebleau. He died on July 29, 1788. This craftsman, who signed his name F. SCHEY, left a large number of works of fine craftsmanship, but in a rather cold style. Most of them are in mahogany, such as a piece d'entre-deux with side shelves reproduced in the Louise Balthy sale catalog, a fine desk I saw at M. G. Keller's, and a pair of small chests of drawers in the Puiforcat collection.
The Musée de Chaalis contains a secretary by the same author, with veneered panels framed with Greek motifs. Another example of his marquetry work is a dressing table belonging to the Comte de Kervéguen, decorated with interlacing and rosettes.