A gilt-bronze-mounted Chinese lacquer commode stamped I Dubois and JME twice, stamped on the underside DF twice, Louis XV, mid 18th century

of serpentine bombé form with a brèche d'Alep marble top, containing two drawers, the front and sides set with chinoiserie lacquer and with delicate leaf-cast gilt-bronze borders and mounts on cabriole legs and scrolled feet, marble top restored, the reverse with a printed label in red ink L.61.9.a

In overall good conserved condition. Very good quality casting and chasing to the mounts. The lacquer has attractive detail and cracquelure . Some very minor chips along the rear edge of the marble top.
"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 (1694-1763, maître in 1742) was one of the most important ébénistes of the Louis XV period and, arguably, one of the most prolific.  He produced luxury furniture frequently incorporating Chinese or Japanese lacquer, largely consisting of secrétaires, bureaux and commodes.  Unlike many of his contemporaries, he was not dependent upon the patronage of the powerful and influential marchands-merciers, although he did occasionally supply pieces to Thomas-Joachim Hébert, Léger Bertin, François Machart and Deyle-François Labrunne, as well as the marchand-ébéniste Pierre Migeon.  Dubois largely cultivated his own exclusive roster of aristocratic clients and supplied his furniture directly to them.

Nevertheless, it is possible that this commode was commissioned by Hébert, who not only was one of the leading marchand-merciers in Paris and fournisseurs de la Cour for several decades but also the one who spearheaded the taste for Oriental lacquer mounted furniture, after having supplied a famous lacquer commode by Bernard Van Risenburgh to Queen Marie Leczinska for the château de Fointainebleau in 1737. Possibly through Hébert, Dubois and Mathieu Criaerd used similar mounts. Criaerd use the mounts au rythme syncopé seen in the present lot in some of his pieces – one stamped sold Christie’s London, 13th June 2002, lot 45, previously sold with Sotheby’s Monaco, 13th February 1983, lot 439; Two commodes unstamped, but attributed to this maker, sold in these rooms, 25th June 1982, lot 36; and Etude Tajan, Paris, 15th December 1997.

Closer to the present lot are two almost identical commodes, considered a pair, of the same exact outline and mounts (see Thibaut Wolvesperges, Le Meuble Français en Laque au XVIIIe Siécle, 1999, p. 274, ill. 139-140). One uses vernis martin panels and is stamped by Delorme, whilst the other uses Chinese lacquer and bears a stamp D.F. believed to belong to Jean Desforges.

Another commode with related mounts stamped by Desforges (now en placage but probably originally with lacquer panels) was sold by the J.P.Getty Museum (Christie’s, New York, The Arts of France, 21st October 1997, lot 181.) Another related lacquer commode stamped by Jean Chevalier JME was sold Christie’s New York, 8th  May 1991.

The existence of this group of commodes with similar mounts reveals the tightly linked community of ébènistes in Paris, who shared suppliers, retailers and collaborated on the same piece of furniture. Though many were linked through family connections, it is possible that Hébert, with his successful retailing business with close connections to the court and particular market for pieces in the Oriental taste, was the pivotal figure in this group of commodes, clearly a successful model in the buoyant Parisian market for lacquer furniture.