Footnotes

Provenance
The present lot previously formed part of the Villedieu de Torcy collection, allegedly since the 18th century.
It passed thence by descent within the same family.
The offered commode was subsequently purchased by the current owner and vendor, Sotheby's, Paris, 13 November 2018, Excellence, lot 25.

Literature
T. Wolvesperges, Le Meuble Français en Laque au XVIIIe Siècle, Paris, 2000.

Jacques Dubois, maître en 1742.

This stunning and visually arresting French mid 18th century commode is in remarkably immaculate order, almost certainly due to the fact that it had apparently remained within the possession of one family until 2018. Although it must be noted that no documentation is available in order to definitively prove this sustained historical familial association.

As was typically part of the finishing process for such pieces, the Japanese lacquer panels incorporated into the present commode were most likely enhanced or heightened by Parisian varnish in a few places, most notably on the side panels. Following a close inspection of the surfaces, it is apparent that at certain points of absence in the asymmetrical design - which is typical with Japanese lacquer - the composition has possibly been 'improved' through the application of further layers of decoration intended to create a more balanced European type of composition.

It is rare on such impressive mid 18th century models, but the ormolu adornments appear to have retained their antique mercury gilded finish. Whilst the extravagance in terms of the design of these mounts is indicative of the early part of the lengthy Rococo period, during which time the former Regence taste was gradually supplanted by its more dynamic, naturalistic and playful successor.

A central cartouche mount enclosing birds decorated on a lacquer front, as can be seen on the above commode, feature on a number of comparables, including one housed at the John Paul Getty Museum, inv. 55 D.A.2.

The offered lot is an exceptional example of the lacquer output from one of the most important and widely revered French cabinet makers operating during the reign of Louis XV. Aside from being stamped with his name, it has all the hallmarks of being the work of Jacques Dubois. This important commode is included as one of a select group of four Japanese lacquer models which feature in T. Wolvesperges, op. cit. In a very similar way to a related Dubois version housed in the Carnavalet Museum, Paris (inv. MB450), the present piece is clearly one of the finest productions of this cabinet maker's workshop.

Related Dubois commodes of this type tend to predominantly use Chinese lacquer and consequently ones which incorporate Japanese work by and large rarely make an appearance at auction, at least in more recent years anyway. Despite this, a stunning example by Dubois which does house Japanese lacquer, sold Christie's, London, 9 February 2023, An Opulent Aesthetic, lot 87. Also, it is interesting to note that one version, which is described solely as being executed in Parisian varnish, sold Sotheby's, Paris, 19 November 2019, Excellence, lot 58.

Further comparable Dubois commodes, albeit Chinese lacquer models, include; one sold Christie's, London, 6 July 2016, European Furniture and Works of Art, lot 72; another sold Christie's, New York, 29 October 2019, Fifth Avenue Grandeur: Important French Furniture from the Collection of Lewis and Ali Sanders, lot 1144; a further example sold Sotheby's, Paris, 17 November 2021, Important Mobilier, lot 32; and finally one which was offered Christie's Paris, 30 June 2022, Le Grand Style: An Apartment on the Quai d'Orsay Designed by Alberto Pinto, lot 56.

Limited information remains in relation to the life and career of Jacques Dubois, however certain aspects are known, or at least can be inferred. For example, it is highly probable that during his youth he trained under his half-brother, Noël Gérard, in the latter's ébénisterie workshop. Gérard is widely acknowledged to be one of the foremost cabinet makers operating in Paris over the course of the Régence period. It is interesting to note that their interactions must have been slightly more than just a working relationship, since in 1730 Gerard acted as a witness to his half-brother's wedding. In 1742 Dubois attained his maître, albeit at an older age than was typical for the time in which he lived. Thereafter, he was made a juré of the guild following the death in 1763 of his renowned predecessor in this capacity, Jean-Francois Oeben, although Dubois himself died unexpectedly later that same year.

Dubois is best known for his extremely skilful incorporation of oriental lacquer within much of the furniture he produced. Amongst his most celebrated work is a small group of commodes each housing wonderful Chinese lacquer and embellished with distinctive scrolled acanthus mounts in irregular designs or cartouche shaped outlines.

Arguably, within the context of the entire output of Dubois, one of his ultimate 'tour-de-force' pieces is the amazing encoignure surmounted by a superstructure of shelves and an ormolu clock, which he made in 1753 for the marchand mercier, Lullier of Warsaw, the latter of whom then supplied it to Count Klemens Brenicki, who had originally ordered its creation in the first place. This encoignure, which was subsequently acquired by Baron Nathaniel de Rothschild, resides today in the famous J. Paul Getty Museum and appears in C. Bremmer-David, Decorative Arts, An Illustrated Summary Catalogue of the Collections of the J. Paul Getty Museum, 1993, Malibu, no. 35, pp.'s 31-32.

Following the establishment of his business on the rue de Charenton, Dubois went on to earn the rights of an ouvrier libre and consequently afterwards he was able to legitimately bypass the strict rules set up by the guild, whilst his ébéniste contemporaries had to strictly adhere to them. The next phase of Dubois's career was the development of a close collaborative working association between him and two of the most notable marchands merciers of the period, Antoine-Nicolas-Joseph Bertin and Pierre Migeon II. It seems highly likely that due to the superb Japanese lacquer housed within the offered commode, one of these prominent dealers would have commissioned Dubois to make the above piece. See A. Pradère, French Furniture Makers, 1989, Paris, p. 171.

The offered model is stamped for Jacques Dubois, someone who is recorded, just as with Bernard Van Risenburgh (BVRB), as providing furniture upon behalf of Madam de Pompadour. Both cabinet makers were arguably most noted for their output which incorporated oriental lacquer.

A detailed listing of the stock in the Dubois workshop, which was completed after his death in 1763, included a small proportion of some supremely fine quality commodes executed in Chinese or Japanese lacquer. Two such items are described therein as 'un bureau en lac de Chine,' and 'une petite secretaire en lac de Japon'. Also counted among this remaining furniture were an impressive number of ormolu mounts which amounted altogether to a total of 432 'livres pesant de modeles de bronze'. It is evident that, pursuant to close analysis of this inventory, Dubois had been responsible for the operation of a sizable workshop comprised of twelve work benches. Whilst the immense variety of pieces made by Dubois that remained following his death prove the range and depth of his abilities as a cabinet maker.