A Louis XV gilt-bronze mounted tulipwood and kingwood marquetry bureau plat attributed to Jacques Dubois circa 1755

probably supplied by the marchand-ébéniste Denis Genty, the top inset with a later gilt-tooled green leather, above three drawers and opposing three dummy drawers, the handles English and possibly added in the mid-18th century, stamped 'D GENTY' and 'JME'

Probably acquired by Alfred de Rothschild, of 1 Seamore Place, London, and Halton, Buckinghamshire; and by descent to his daughter Almina, Countess of Carnarvon, Highclere Castle, Berkshire; Or possibly acquired by Philip Stanhope, 4th Earl of Chesterfield (d.1773) for Chesterfield House, London, and by descent to George Edward Stanhope Molyneux, 5th Earl of Carnarvon (1866-1923), Highclere Castle, Berkshire,

Thence by descent, the Earls of Carnarvon, Highclere Castle, sold Sotheby's London, 26 February 1954, lot 121;
Christie's London, 2 July 1981, lot 11;
Christie's London, East & West: A Private Collection from Eaton Square & Anouska Hempel, 2 May 2013, lot 30

In overall reasonable conserved condition and ready for use. The gilt-tooled leather top attractively worn and displaying movement along lines of construction and with some corresponding patch repairs. Top re-fixed at some point with new bracket supports to carcass and bearers/guides for drawers. Some variation in colour to surface due to exposure to sun light and evidence of repairs and replacements to small areas of marquetry/veneers. This is perhaps most notable to the drawers which have restorations to edges and the central drawer with loss to lower right corner which would benefit from further attention. As stated in the catalogue description the drawer handles and escutcheons are English and possibly added in the mid-18th century. Otherwise with minor old marks and scratches consistent with age and use. An elegant piece with boldly cast mounts.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

JACQUES DUBOIS Jacques Dubois was the half-brother of Noël Gérard, who was one of the most important ébénistes and dealers in Paris between 1720 and 1730 and it is possible, although not proven, that Dubois trained and worked in his workshop. If he did not work in Gérard's atelier, more than likely he worked as an ouvrier libre, eventually explaining why he did not receive his mâitrise until late in his career, in 1742, when he was 48. Not being able to stamp his pieces, he clearly worked for other colleagues and marchand-merciers, as it seems to be the case of the present lot, bearing the stamp of his colleague and marchand Denis Genty.

Along with Bernard van Risamburgh, Joseph Baumhauer and Jean Desforges, Dubois was one of the finest ébénistes working Chinese, Japanese and European lacquer veneers in the Louis XV idiom and is renowned for a number of commodes and small writing tables but also for some exceptional bureaux plats, both in lacquer and in fine wood marquetry.

The design of all of them is rather uniform and organic; the drawers are separated by marked curves with the central drawer slightly recessed; see, for example one in bois-de-bout marquetry, from the Wendland Collection (ill. Alexandre Pradère, Les Ébénistes Français de Louis XIV à la Révolution, 1989, pp. 174-75, pl. 157). This example shares with the present lot a side mount of centrifugal design. The floral marquetry designs on both are, as described by Prádere when speaking of Dubois oeuvre, “graceful, with long attenuated flowers and leaves sparingly placed on the panels”.

Dubois is known for his exuberant and distinctive mounts, and the boldly cast corner chutes in this lot, of seemingly unique design, gracefully frame the cabriole legs, resembling a rich branch of elongated acanthus with further foliage and flowers, resulting in a strong overall outline to the bureau.

The drawers on this piece were later embellished with rocaille handles, certainly made in England, and that follow a pattern published in Birmingham circa 1765-80 - see N. Goodison, 'The Victoria and Albert Museum's Collection of Metal-Work Pattern Books', in Furniture History Society Journal, vol. XI, 1975, pl. 8 (fig.2).

THE PROVENANCE

The illustrious provenance for this important table goes back to Highclere Castle, Buckinghamshire (fig.1), the seat of the Earls of Carnarvon, well-known not only for the role of the 5^th earl in the discovery of Tutankhamun’s tomb but also as the setting for the acclaimed TV series Downton Abbey. The wife of the 5th Earl, Almina was the only daughter of Alfred de Rothschild, and might answer the question of how the piece entered the Carnarvon collections, having inherited numerous outstanding pieces of French Furniture.

Nevertheless, the fact that the bureau has coeval English handles might indicate its presence on the British Isles in the third quarter of the 18^th century. One of the most celebrated Francophile tastemakers in London at that period was Phillip Stanhope, 4^th Earl of Chesterfield who built Chesterfield House in London, an ancestor of the Carnarvons and who could be considered as the first possible British owner of this exceptional bureau plat.