COMMODE D'ÉPOQUE LOUIS XV EN MARQUETERIE GÉOMETRIQUE DE BOIS DE ROSE, SATINÉ ET AMARANTE, ORNEMENTATION DE BRONZE CISELÉ ET DORÉ, ESTAMPILLE DE JACQUES DUBOISVers 1755 A LOUIS XV ORMOLU-MOUNTED TULIPWOOD, BOIS SATINE, AMARANTH AND PARQUETRYMODE, JACQUES DUBOIS Circa 1755 Overall veneered with contrasting lozenge motifs, the shaped and moulded brèche d'Alep marble top, with two small drawers variously shaped above one long drawer, each with shaped reserves for foliate handles and cartouche shaped escutcheons, flanked by extensive pierced foliate chutes, the sides centred by a large stylized shell foliate mount, above splayed legs terminating in lion-headed foliate scrolling sabots, stamped 'I.DUBOIS' and 'JME'. 84cm (33in) high x 123cm (48 1/2in) wide x 58cm (22 3/4in) deep . Jacques Dubois, maître ébéniste in 1742. Jacques Dubois was born in 1694 from Marguerite Montigny and Louis Dubois. His half-brother, Noël Gérard, born before 1690 is the son of Marguerite Montigny' previous union with Nicolas Gérard. Noël Gérard quickly became one of the most important cabinetmakers and marchand-mercier in Paris, based in the Hôtel Jabach, rue neuve Saint-Merry. It was exactly in the workshop of his half-brother Noël Gérard that Jacques Dubois began his career in the 1720's, and logically became quite influenced by Gérard. Interestingly, Dubois did not receive his master's degree until much later in 1742, at the age of 48. After the disappearance of Noël Gérard in 1736, Jacques Dubois had to rely on other marchands-mercier to sell his furniture until he obtained his 'maîtrise'. In the 1740's Jacques Dubois is known to have excelled in his production of floral marquetry, inspired by the work of Bernard I Van Risenburgh and by that of Jean-Pierre Latz. In addition, Jacques Dubois often incorporated Chinese and Japanese lacquer into his repertoire, but always paid particular attention to the ormolu mounts which he retained an essential element. Ourmode marks an evolution in Jacques Dubois's oeuvre, both its shape and the parquetry (marqueterie à cubes) are in harmony with the Transitional style and evoke the beginning of the goût Grec which will have a huge impact in the years toe. It is interesting to note that on the death of Jean-François Oeben in 1763, Jacques Dubois wasmissioned by the heirs of Oeben as an expert to value the remaining content of Oeben's workshop. We find the same type of cube parquetry on certain pieces of furniture by Jean-François Oeben, with whom he probably collaborated. While this shaped parquetrymode is quite atypical in the oeuvre of Jacques Dubois, we can observe the interesting contrast between the finely presented ormolu mounts backed with by similarly shaped contrasting veneered cartouches, and the amusing arrangement of the drawers, where the top drawer is divided in one third-two third sections while the lower one is a single drawer, creating surprise. Assez atypique dans