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Descrizione dettagliata lotto
The Emergence of Lacquer-Mounted Furniture during the Régence
This magnificent meuble d'appui is a rare and important example of French cabinet-making incorporating Far Eastern lacquer panels during the Régence period, a pivotal moment in the history of lacquer-mounted furniture. Although Japanese lacquer cabinets had been imported into European collections from the 1660s onwards, it was not until circa 1715-1720 that, under the impetus of the Parisian marchands-merciers, cabinet-makers began to appropriate both the material and its decorative vocabulary, creating furniture that was distinctly European in conception. The present meuble d'appui is entirely constructed around lacquer panels set within an amaranth-veneered carcass—including the top—with the junctions elegantly concealed by gilt-bronze mouldings and clasps.
Among the few comparable examples are the cabinet signed by the marchand-mercier Louis Guignard and dated 1723, sold at Christie's, New York, 18 March 2005, lot 305, and the pair of cabinets sold at Christie's, London, 10 July 2014, lot 29, both incorporating vertical lacquer panels closely comparable to those of the present piece. Jean Desforges' commode, executed circa 1730 and now in the Musée Jacquemart-André (inv. MJAP-M 1489), together with another commode by the same cabinet-maker preserved at the Château de Versailles (T. W., op. cit., p. 65, fig. 51), instead employs lacquer panels cut horizontally.
Like the present meuble d'appui, these examples are mounted with black-ground Chinese lacquer panels produced in Canton during the early eighteenth century, distinguished by flowering branches inhabited by birds and butterflies, their rich palette enlivened by brilliant red and blue highlights outlined in gold. As taste—and, above all, technique—rapidly evolved, these Régence pieces gave way by the late 1730s to furniture entirely clad in lacquer and matching Parisian japanning, such as the two commodes stamped by Mathieu Criaerd offered in the present sale (lots 6 and 43).
The Undisputed Work of a Leading Régence Cabinet-Maker
During the sale of the collection of Monsieur Gaignat, former Secretary to the King, in 1768, the following lot appears under number 180:
"Two cabinets, 5 feet in length and 5 feet 3 inches in height, veneered in amaranth, each with two doors in old Chinese black lacquer (...) entirely mounted with gilt-bronze mouldings and ornaments of the finest taste. They are among the last works executed by one of the sons of the celebrated Boulle."
Although such an attribution to one of André-Charles Boulle's sons is difficult to substantiate today, it nevertheless demonstrates that luxurious pieces of this type were regarded as the work of the foremost cabinet-makers of their day.
Alongside the Boulle workshop, the name of Charles Cressent—or that of a cabinet-maker working within his circle—may also be advanced. The mask of Diana adorning the present piece is a motif frequently employed by Cressent, notably on the pair of convex cabinets preserved in the J. Paul Getty Museum (inv. 79.DA.2). The same ornament also appears on a commode dating from circa 1725-1735, sold at Christie's, Paris, 19 June 2025, lot 31.
Furthermore, the gilt-bronze clasps punctuating the frames surrounding the lacquer panels belong to a decorative vocabulary closely associated with Cressent. Their perfectly symmetrical design, centred by a cartouche flanked by scrolling acanthus leaves forming moustache-like volutes above a flat interlace securing a foliate scroll, closely recalls motifs found throughout his oeuvre. Although no identical composition is known, Cressent repeatedly adapted this ornamental device, invariably placing it at the centre of a moulded frame.
Finally, the rounded corners of the present meuble d'appui recall one of the technical hallmarks of the Régence master's production. Such subtle curves are particularly characteristic of Cressent's corner cabinets, where the technical achievement lies precisely in forcing rigid lacquer panels to conform to elegantly curved surfaces.
Although the author of this exceptional piece remains unknown, there can be little doubt that it emerged from one of the most distinguished cabinet-making workshops active during the Régence.
The Mark of René Dubois: Dealer or Restorer
Although the precise capacity in which René Dubois (1737-1799), son of the celebrated cabinet-maker Jacques Dubois (1693-1763), applied the family's stamp to the reverse of the present meuble d'appui remains uncertain, it is nevertheless evident that this remarkable piece passed through the Dubois workshop in the rue de Charenton.
Having been trained by his father not only in cabinet-making but also in the demanding techniques of mounting Oriental lacquer onto furniture—Jacques Dubois being celebrated today for his sumptuous lacquer and Parisian japanned furniture—it is entirely plausible that René undertook the restoration of this important lacquer-mounted piece during the closing decades of the eighteenth century.
A second explanation for his intervention lies in the Dubois family's activities as dealers. Both Jacques and subsequently René are known to have combined cabinet-making with the trade in works of art and furniture. Although impossible to quantify, the eighteenth-century market for second-hand furniture was thriving and undoubtedly represented a significant additional source of income for Parisian craftsmen.
While the exact reason for the passage of the present cabinet through the Dubois workshop remains unknown, it is worth noting that its presence in one of the capital's most distinguished ateliers—where, in the late 1780s, the Stroganoff family acquired the exceptional pair of consoles sold at Christie's, Paris, 20 November 2024, lot 22—further confirms the outstanding quality and refinement of this remarkable meuble d'appui.
The Emergence of Lacquer-Mounted Furniture during the Régence Period
This magnificent meuble d’appui is a fine and rare example of French cabinet-making incorporating panels of lacquer from the Far East during the Régence period. This period was a crucial one in the history of this type of furniture. While Japanese lacquer cabinets had been introduced into European interiors from the 1660s onwards, it was not until around 1715-1720 that cabinet-makers, prompted by the marchands-merciers, employed both the material and its decorative vocabulary to create furniture that was unmistakably European in conception.
Our meuble d’appui is thus entirely composed of lacquer panels set within an amaranth-veneered carcass, even the top, and the joins are elegantly concealed by gilt-bronze borders and strapwork mounts. Among the rare comparable examples known today are the cabinet signed by the marchand-mercier Louis Guignard and dated 1723, sold at Christie’s, New York (18 March 2005, lot 305), and the pair of cabinets sold at Christie’s, London (10 July 2014, lot 29), both featuring vertical lacquer panels very close to those of the present piece. The commode by Jean Desforges, executed circa 1730 and preserved in the Musée Jacquemart-André (Inv. MJAP-M 1489), as well as another commode by the same ébéniste preserved at the Château de Versailles (T.W., op. cit., p. 65, fig. 51), are fitted instead with horizontally arranged panels.
Like the present meuble d’appui, these examples are decorated with Chinese black-ground lacquer panels produced in Canton during the early eighteenth century, characterised by flowering branches scattered with birds and butterflies, the palette enhanced by brilliant touches of red and blue highlighted in gold. As taste and technique evolved rapidly, these Régence models gave way, by the late 1730s, to examples entirely decorated with lacquer and vernis parisien in matching colours, such as the two commodes stamped by Mathieu Criaerd offered in the present sale (lots 6 and 45).
The Undisputed Work of a Leading Régence Ébéniste
During the 1768 sale of the collection of Monsieur Gaignat, former Secretary to the King, lot 180 was described as follows: “Two cabinets five pieds in length and five pieds three pouces in height, veneered in amaranth, each with two doors, decorated with old Chinese lacquer on a black ground [...] the whole enriched with gilt-bronze mouldings and ornaments of fine taste. They are among the last works of a son of the celebrated Boulle.”
Although this attribution to one of André-Charles Boulle’s sons is now difficult to substantiate, it nevertheless indicates that such luxurious pieces were considered the domain of the most accomplished cabinet-makers. Alongside the Boulle dynasty, the name of Charles Cressent, or that of his workshop, may also be suggested. The mask of Diana visible on the present piece is an ornamental motif employed by Cressent. It appears on a pair of convex cabinets preserved in the J. Paul Getty Museum (Inv. 79.DA.2). A commode dating from circa 1725-1735, sold at Christie’s Paris (19 June 2025, lot 31), is likewise ornamented with the same motif.
Furthermore, the strapwork mounts punctuating the framing of the lacquer panels closely relate to the ornamental vocabulary favoured by Cressent. This perfectly symmetrical motif, centred on a cartouche flanked by acanthus leaves forming moustache-like scrolls and an interlaced flat ribbon retaining a foliate scroll, is closely related to designs found on numerous works by Charles Cressent. Finally, the rounded corners of the present meuble d’appui are characteristic of techniques employed by the ébéniste of the Régent. Such curvilinear forms are particularly evident in Cressent’s corner cabinets. The technical tour de force is expressed here in the rounded shape itself, to which the lacquer panels were required to conform.
The Mark of René Dubois: Dealer or Restorer?
Although it remains uncertain in what capacity René Dubois (1737-1799), son of the celebrated ébéniste Jacques Dubois (1693-1763), employed the workshop stamp found on the reverse of the present meuble d’appui, it is nevertheless certain that this remarkable piece passed through his atelier on the rue de Charenton.
Trained by his father Jacques in cabinet-making and in the specialised techniques associated with mounting Oriental lacquer on furniture, Jacques having secured his reputation through his sumptuous lacquer and vernis parisien furniture, it is entirely plausible that René Dubois intervened during the final decades of the eighteenth century to restore this important lacquer-mounted piece.
A second hypothesis to explain his involvement lies in the Dubois family's activities as furniture dealers. It is known that both Jacques and, subsequently, René pursued this secondary occupation. While the exact explanation remains unknown, it is worth noting that this meuble d’appui passed through one of the most important Parisian workshops of the period, as did the pair of console tables from the Dubois atelier in the late 1780s (Christie’s Paris, 20 November 2024, lot 22), further attesting to the exceptional refinement of the present piece.
La naissance du mobilier orné de laque sous la Régence
Ce magnifique meuble à hauteur d’appui est un bel et rare exemple d’ébénisterie française incorporant des panneaux de laque d’Extrême-Orient à l’époque Régence. Cette dernière représente une période charnière dans l’histoire de ce mobilier. Si depuis les années 1660, les cabinets en laque du Japon s’introduisent dans les maisons européennes, il faut attendre 1715-1720 pour que les ébénistes, sous l’impulsion des marchands-merciers, s’approprient cette matière et ses motifs et créent des meubles cette fois-ci résolument européens. Ainsi, notre meuble à hauteur d’appui est entièrement composé de panneaux de laque enchâssés dans une structure plaquée d’amarante – même le dessus – les jonctions étant habilement masquées par des bordures et agrafes de bronze doré. Parmi les rares exemplaires que nous connaissons, citons l’armoire signée par le marchand-mercier Louis Guignard et datée 1723, vendue chez Christie’s à New York (18 mars 2005, lot 305) et la paire d’armoires présentée chez Christie’s à Londres (10 juillet 2014, lot 29), exemplaires à panneaux verticaux très proches des nôtres. La commode de Jean Desforges réalisée vers 1730 et conservée au musée Jacquemart-André (Inv. MJAP-M 1489) ou encore, la commode conservée au château de Versailles du même ébéniste (T. W., op. cit. p. 65, fig. 51) présentent des panneaux coupés cette fois-ci à l’horizontale. Comme notre meuble, ces exemples sont ornés de laques de Chine fond noir réalisés à Canton au début du XVIIIe siècle, caractérisés par ces branchages fleuris parsemés d’oiseaux et de papillons, la palette complétée de pointes de rouge éclatant et de bleu cernées de doré. Le goût et surtout la technique évoluant rapidement, ces meubles Régence laissent place à la fin des années 1730 aux spécimens ornés entièrement de laques et de vernis parisien de même ton tels que les deux commodes estampillées de Mathieu Criaerd que nous présentons dans cette vente (lot 6 et lot 45).
L'œuvre incontestée d'un éminent ébéniste de l'époque Régence
En 1768 lors de la vente aux enchères de M. Gaignat – ancien secrétaire du roi – nous trouvons sous le numéro 180 : Deux armoires de 5 pieds de long, fur 5 pieds 3 pouces de haut, plaqués en bois d’amarante, à deux portes chacune, en ancien verni de la Chine, fond noir […] le tout garni de moulures & ornemens de bronze doré & de bon goût. Ce font des derniers ouvrages d’un fils du célèbre Boulle. Bien que cette attribution à un fils d’André-Charles Boulle soit aujourd’hui difficilement vérifiable, elle nous indique néanmoins que ces luxueux meubles étaient l’apanage des grands ébénistes.
Outre les fils Boulle, le nom de Charles Cressent - ou son entourage - peut aussi être avancé. Le masque de Diane visible sur notre meuble est un ornement utilisé par Cressent. Nous le retrouvons notamment sur une paire d’armoires convexes conservée au Musée J.P. Getty (Inv. 79.DA.2). Une commode datée des années 1725-1735, vendue chez Christie’s à Paris (19 juin 2025, lot 31) est également ornée de ce même motif. De plus, les agrafes rythmant les encadrements des panneaux de laque se rapprochent du vocabulaire usité par l’ébéniste. Ce motif parfaitement symétrique centré d’un cartouche flanqué de feuilles d’acanthe formant moustache avec un entrelac traité en aplat retenant un rinceau feuillagé est très proche d’un dessin observé sur de nombreuses créations de Charles Cressent. Sans trouver une composition identique, l'ébéniste la décline de manière récurrente, toujours à l’aplomb d’un encadrement. Enfin, la forme arrondie aux angles de notre meuble d’appui se rapproche des techniques utilisées par l’ébéniste du Régent. Ces jeux de courbes s’observent particulièrement sur les armoires d’angles à portes de Cressent. La prouesse technique réside ici dans cette forme arrondie que les panneaux de laque sont contraints d’épouser.
L'empreinte de René Dubois : marchand ou restaurateur ?
Sans savoir en quelle qualité René Dubois (1737-1799), fils du célèbre ébéniste Jacques Dubois (1693-1763), appose l’estampille de la maison au dos de notre armoire d’appui, il est néanmoins certain que ce remarquable meuble est passé dans l’atelier de la rue de Charenton.
Formé par son père Jacques à l’ébénisterie et aux techniques d’application des laques orientales sur les meubles – Jacques a laissé son nom à la postérité à travers ses somptueux exemplaires en laque et/ou vernis parisien – il est parfaitement envisageable d’imaginer que René Dubois soit intervenu dans les dernières décennies du XVIIIe siècle pour restaurer notre important meuble à panneaux de laques.
La seconde hypothèse qui expliquerait son intervention est l’activité de marchand de la famille Dubois. Nous savons que Jacques puis René exercent cette seconde occupation. Impossible à quantifier, le marché de l’occasion est néanmoins réel et il peut être une source non négligeable de revenu supplémentaire pour les artisans.
Bien que l'explication exacte demeure encore mystérieuse, il est intéressant de noter que son passage dans cet important atelier parisien - les Stroganoff y achètent à la fin des années 1780 une exceptionnelle paire de consoles (Christie’s Paris, 20 novembre 2024, lot 22) - révèle le caractère hautement raffiné de notre meuble à hauteur d’appui.
This magnificent meuble d'appui is a rare and important example of French cabinet-making incorporating Far Eastern lacquer panels during the Régence period, a pivotal moment in the history of lacquer-mounted furniture. Although Japanese lacquer cabinets had been imported into European collections from the 1660s onwards, it was not until circa 1715-1720 that, under the impetus of the Parisian marchands-merciers, cabinet-makers began to appropriate both the material and its decorative vocabulary, creating furniture that was distinctly European in conception. The present meuble d'appui is entirely constructed around lacquer panels set within an amaranth-veneered carcass—including the top—with the junctions elegantly concealed by gilt-bronze mouldings and clasps.
Among the few comparable examples are the cabinet signed by the marchand-mercier Louis Guignard and dated 1723, sold at Christie's, New York, 18 March 2005, lot 305, and the pair of cabinets sold at Christie's, London, 10 July 2014, lot 29, both incorporating vertical lacquer panels closely comparable to those of the present piece. Jean Desforges' commode, executed circa 1730 and now in the Musée Jacquemart-André (inv. MJAP-M 1489), together with another commode by the same cabinet-maker preserved at the Château de Versailles (T. W., op. cit., p. 65, fig. 51), instead employs lacquer panels cut horizontally.
Like the present meuble d'appui, these examples are mounted with black-ground Chinese lacquer panels produced in Canton during the early eighteenth century, distinguished by flowering branches inhabited by birds and butterflies, their rich palette enlivened by brilliant red and blue highlights outlined in gold. As taste—and, above all, technique—rapidly evolved, these Régence pieces gave way by the late 1730s to furniture entirely clad in lacquer and matching Parisian japanning, such as the two commodes stamped by Mathieu Criaerd offered in the present sale (lots 6 and 43).
The Undisputed Work of a Leading Régence Cabinet-Maker
During the sale of the collection of Monsieur Gaignat, former Secretary to the King, in 1768, the following lot appears under number 180:
"Two cabinets, 5 feet in length and 5 feet 3 inches in height, veneered in amaranth, each with two doors in old Chinese black lacquer (...) entirely mounted with gilt-bronze mouldings and ornaments of the finest taste. They are among the last works executed by one of the sons of the celebrated Boulle."
Although such an attribution to one of André-Charles Boulle's sons is difficult to substantiate today, it nevertheless demonstrates that luxurious pieces of this type were regarded as the work of the foremost cabinet-makers of their day.
Alongside the Boulle workshop, the name of Charles Cressent—or that of a cabinet-maker working within his circle—may also be advanced. The mask of Diana adorning the present piece is a motif frequently employed by Cressent, notably on the pair of convex cabinets preserved in the J. Paul Getty Museum (inv. 79.DA.2). The same ornament also appears on a commode dating from circa 1725-1735, sold at Christie's, Paris, 19 June 2025, lot 31.
Furthermore, the gilt-bronze clasps punctuating the frames surrounding the lacquer panels belong to a decorative vocabulary closely associated with Cressent. Their perfectly symmetrical design, centred by a cartouche flanked by scrolling acanthus leaves forming moustache-like volutes above a flat interlace securing a foliate scroll, closely recalls motifs found throughout his oeuvre. Although no identical composition is known, Cressent repeatedly adapted this ornamental device, invariably placing it at the centre of a moulded frame.
Finally, the rounded corners of the present meuble d'appui recall one of the technical hallmarks of the Régence master's production. Such subtle curves are particularly characteristic of Cressent's corner cabinets, where the technical achievement lies precisely in forcing rigid lacquer panels to conform to elegantly curved surfaces.
Although the author of this exceptional piece remains unknown, there can be little doubt that it emerged from one of the most distinguished cabinet-making workshops active during the Régence.
The Mark of René Dubois: Dealer or Restorer
Although the precise capacity in which René Dubois (1737-1799), son of the celebrated cabinet-maker Jacques Dubois (1693-1763), applied the family's stamp to the reverse of the present meuble d'appui remains uncertain, it is nevertheless evident that this remarkable piece passed through the Dubois workshop in the rue de Charenton.
Having been trained by his father not only in cabinet-making but also in the demanding techniques of mounting Oriental lacquer onto furniture—Jacques Dubois being celebrated today for his sumptuous lacquer and Parisian japanned furniture—it is entirely plausible that René undertook the restoration of this important lacquer-mounted piece during the closing decades of the eighteenth century.
A second explanation for his intervention lies in the Dubois family's activities as dealers. Both Jacques and subsequently René are known to have combined cabinet-making with the trade in works of art and furniture. Although impossible to quantify, the eighteenth-century market for second-hand furniture was thriving and undoubtedly represented a significant additional source of income for Parisian craftsmen.
While the exact reason for the passage of the present cabinet through the Dubois workshop remains unknown, it is worth noting that its presence in one of the capital's most distinguished ateliers—where, in the late 1780s, the Stroganoff family acquired the exceptional pair of consoles sold at Christie's, Paris, 20 November 2024, lot 22—further confirms the outstanding quality and refinement of this remarkable meuble d'appui.
The Emergence of Lacquer-Mounted Furniture during the Régence Period
This magnificent meuble d’appui is a fine and rare example of French cabinet-making incorporating panels of lacquer from the Far East during the Régence period. This period was a crucial one in the history of this type of furniture. While Japanese lacquer cabinets had been introduced into European interiors from the 1660s onwards, it was not until around 1715-1720 that cabinet-makers, prompted by the marchands-merciers, employed both the material and its decorative vocabulary to create furniture that was unmistakably European in conception.
Our meuble d’appui is thus entirely composed of lacquer panels set within an amaranth-veneered carcass, even the top, and the joins are elegantly concealed by gilt-bronze borders and strapwork mounts. Among the rare comparable examples known today are the cabinet signed by the marchand-mercier Louis Guignard and dated 1723, sold at Christie’s, New York (18 March 2005, lot 305), and the pair of cabinets sold at Christie’s, London (10 July 2014, lot 29), both featuring vertical lacquer panels very close to those of the present piece. The commode by Jean Desforges, executed circa 1730 and preserved in the Musée Jacquemart-André (Inv. MJAP-M 1489), as well as another commode by the same ébéniste preserved at the Château de Versailles (T.W., op. cit., p. 65, fig. 51), are fitted instead with horizontally arranged panels.
Like the present meuble d’appui, these examples are decorated with Chinese black-ground lacquer panels produced in Canton during the early eighteenth century, characterised by flowering branches scattered with birds and butterflies, the palette enhanced by brilliant touches of red and blue highlighted in gold. As taste and technique evolved rapidly, these Régence models gave way, by the late 1730s, to examples entirely decorated with lacquer and vernis parisien in matching colours, such as the two commodes stamped by Mathieu Criaerd offered in the present sale (lots 6 and 45).
The Undisputed Work of a Leading Régence Ébéniste
During the 1768 sale of the collection of Monsieur Gaignat, former Secretary to the King, lot 180 was described as follows: “Two cabinets five pieds in length and five pieds three pouces in height, veneered in amaranth, each with two doors, decorated with old Chinese lacquer on a black ground [...] the whole enriched with gilt-bronze mouldings and ornaments of fine taste. They are among the last works of a son of the celebrated Boulle.”
Although this attribution to one of André-Charles Boulle’s sons is now difficult to substantiate, it nevertheless indicates that such luxurious pieces were considered the domain of the most accomplished cabinet-makers. Alongside the Boulle dynasty, the name of Charles Cressent, or that of his workshop, may also be suggested. The mask of Diana visible on the present piece is an ornamental motif employed by Cressent. It appears on a pair of convex cabinets preserved in the J. Paul Getty Museum (Inv. 79.DA.2). A commode dating from circa 1725-1735, sold at Christie’s Paris (19 June 2025, lot 31), is likewise ornamented with the same motif.
Furthermore, the strapwork mounts punctuating the framing of the lacquer panels closely relate to the ornamental vocabulary favoured by Cressent. This perfectly symmetrical motif, centred on a cartouche flanked by acanthus leaves forming moustache-like scrolls and an interlaced flat ribbon retaining a foliate scroll, is closely related to designs found on numerous works by Charles Cressent. Finally, the rounded corners of the present meuble d’appui are characteristic of techniques employed by the ébéniste of the Régent. Such curvilinear forms are particularly evident in Cressent’s corner cabinets. The technical tour de force is expressed here in the rounded shape itself, to which the lacquer panels were required to conform.
The Mark of René Dubois: Dealer or Restorer?
Although it remains uncertain in what capacity René Dubois (1737-1799), son of the celebrated ébéniste Jacques Dubois (1693-1763), employed the workshop stamp found on the reverse of the present meuble d’appui, it is nevertheless certain that this remarkable piece passed through his atelier on the rue de Charenton.
Trained by his father Jacques in cabinet-making and in the specialised techniques associated with mounting Oriental lacquer on furniture, Jacques having secured his reputation through his sumptuous lacquer and vernis parisien furniture, it is entirely plausible that René Dubois intervened during the final decades of the eighteenth century to restore this important lacquer-mounted piece.
A second hypothesis to explain his involvement lies in the Dubois family's activities as furniture dealers. It is known that both Jacques and, subsequently, René pursued this secondary occupation. While the exact explanation remains unknown, it is worth noting that this meuble d’appui passed through one of the most important Parisian workshops of the period, as did the pair of console tables from the Dubois atelier in the late 1780s (Christie’s Paris, 20 November 2024, lot 22), further attesting to the exceptional refinement of the present piece.
La naissance du mobilier orné de laque sous la Régence
Ce magnifique meuble à hauteur d’appui est un bel et rare exemple d’ébénisterie française incorporant des panneaux de laque d’Extrême-Orient à l’époque Régence. Cette dernière représente une période charnière dans l’histoire de ce mobilier. Si depuis les années 1660, les cabinets en laque du Japon s’introduisent dans les maisons européennes, il faut attendre 1715-1720 pour que les ébénistes, sous l’impulsion des marchands-merciers, s’approprient cette matière et ses motifs et créent des meubles cette fois-ci résolument européens. Ainsi, notre meuble à hauteur d’appui est entièrement composé de panneaux de laque enchâssés dans une structure plaquée d’amarante – même le dessus – les jonctions étant habilement masquées par des bordures et agrafes de bronze doré. Parmi les rares exemplaires que nous connaissons, citons l’armoire signée par le marchand-mercier Louis Guignard et datée 1723, vendue chez Christie’s à New York (18 mars 2005, lot 305) et la paire d’armoires présentée chez Christie’s à Londres (10 juillet 2014, lot 29), exemplaires à panneaux verticaux très proches des nôtres. La commode de Jean Desforges réalisée vers 1730 et conservée au musée Jacquemart-André (Inv. MJAP-M 1489) ou encore, la commode conservée au château de Versailles du même ébéniste (T. W., op. cit. p. 65, fig. 51) présentent des panneaux coupés cette fois-ci à l’horizontale. Comme notre meuble, ces exemples sont ornés de laques de Chine fond noir réalisés à Canton au début du XVIIIe siècle, caractérisés par ces branchages fleuris parsemés d’oiseaux et de papillons, la palette complétée de pointes de rouge éclatant et de bleu cernées de doré. Le goût et surtout la technique évoluant rapidement, ces meubles Régence laissent place à la fin des années 1730 aux spécimens ornés entièrement de laques et de vernis parisien de même ton tels que les deux commodes estampillées de Mathieu Criaerd que nous présentons dans cette vente (lot 6 et lot 45).
L'œuvre incontestée d'un éminent ébéniste de l'époque Régence
En 1768 lors de la vente aux enchères de M. Gaignat – ancien secrétaire du roi – nous trouvons sous le numéro 180 : Deux armoires de 5 pieds de long, fur 5 pieds 3 pouces de haut, plaqués en bois d’amarante, à deux portes chacune, en ancien verni de la Chine, fond noir […] le tout garni de moulures & ornemens de bronze doré & de bon goût. Ce font des derniers ouvrages d’un fils du célèbre Boulle. Bien que cette attribution à un fils d’André-Charles Boulle soit aujourd’hui difficilement vérifiable, elle nous indique néanmoins que ces luxueux meubles étaient l’apanage des grands ébénistes.
Outre les fils Boulle, le nom de Charles Cressent - ou son entourage - peut aussi être avancé. Le masque de Diane visible sur notre meuble est un ornement utilisé par Cressent. Nous le retrouvons notamment sur une paire d’armoires convexes conservée au Musée J.P. Getty (Inv. 79.DA.2). Une commode datée des années 1725-1735, vendue chez Christie’s à Paris (19 juin 2025, lot 31) est également ornée de ce même motif. De plus, les agrafes rythmant les encadrements des panneaux de laque se rapprochent du vocabulaire usité par l’ébéniste. Ce motif parfaitement symétrique centré d’un cartouche flanqué de feuilles d’acanthe formant moustache avec un entrelac traité en aplat retenant un rinceau feuillagé est très proche d’un dessin observé sur de nombreuses créations de Charles Cressent. Sans trouver une composition identique, l'ébéniste la décline de manière récurrente, toujours à l’aplomb d’un encadrement. Enfin, la forme arrondie aux angles de notre meuble d’appui se rapproche des techniques utilisées par l’ébéniste du Régent. Ces jeux de courbes s’observent particulièrement sur les armoires d’angles à portes de Cressent. La prouesse technique réside ici dans cette forme arrondie que les panneaux de laque sont contraints d’épouser.
L'empreinte de René Dubois : marchand ou restaurateur ?
Sans savoir en quelle qualité René Dubois (1737-1799), fils du célèbre ébéniste Jacques Dubois (1693-1763), appose l’estampille de la maison au dos de notre armoire d’appui, il est néanmoins certain que ce remarquable meuble est passé dans l’atelier de la rue de Charenton.
Formé par son père Jacques à l’ébénisterie et aux techniques d’application des laques orientales sur les meubles – Jacques a laissé son nom à la postérité à travers ses somptueux exemplaires en laque et/ou vernis parisien – il est parfaitement envisageable d’imaginer que René Dubois soit intervenu dans les dernières décennies du XVIIIe siècle pour restaurer notre important meuble à panneaux de laques.
La seconde hypothèse qui expliquerait son intervention est l’activité de marchand de la famille Dubois. Nous savons que Jacques puis René exercent cette seconde occupation. Impossible à quantifier, le marché de l’occasion est néanmoins réel et il peut être une source non négligeable de revenu supplémentaire pour les artisans.
Bien que l'explication exacte demeure encore mystérieuse, il est intéressant de noter que son passage dans cet important atelier parisien - les Stroganoff y achètent à la fin des années 1780 une exceptionnelle paire de consoles (Christie’s Paris, 20 novembre 2024, lot 22) - révèle le caractère hautement raffiné de notre meuble à hauteur d’appui.