A fine gilt-bronze-mounted amaranth, stained sycamore fruitwood and marquetry commode, stamped twice F. Rubestück JME, with the marque au fer of an anchor with the letter C and number 9, for Châteauneuf-sur-Loire, with inventory no. 554 in black ink Louis XV, mid 18th century

of serpentine bombé form with a later moulded rouge griotte marble top above two long drawers veneered sans traverse with a central gilt-bronze foliate cartouche enclosing a wicker basket of summer flowers flanked on either side by ribbon-tied floral sprays, the sides similarly inlaid with tied floral spays all with scrolled acanthus leaf and floral gilt-bronze reserves with boldly acanthus and floral cast knee mounts, the apron with floral sprays and scrolls on cabriole legs terminating in gilt-bronze scrolled feet

Louis Jean-Marie de Bourbon, duc de Penthièvre, Grand Amiral de France (1725-1793), Châteauneuf-sur-Loire

Colour overall less yellowish and more natural and attractive than in the catalogue photograph. Some minor chips to rear edge of marble top. Good quality casting and chasing of mounts. The mounts on the sides, legs and sabots are by the same hand and the mounts on the front of the commode and the handles are by another hand but probably from the same workshop and all 18th century. Old minor restorations to marquetry with some touching up and filling of cracks, which have been very well executed and are not too noticeable. The gilt-bronze banding on the legs and the rear two sabots are later (19th century). The mounts have been regilded.There are some darker areas of staining on the marquetry where there has been some old restorations, particularly to the sides. Old minor restorations to veneer generally. An impressive size in overall very good restored condition.
"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."

Comparative Literature:Shelley Bennett and Carolyn Sargentson, French Art of the Eighteenth Century at the Huntington, 2008, pp. 81-82, no. 16  
P.Kjellberg, Le Mobilier Français du XVIIIème siècle, dictionnaire des ébénistes et des menuisiers, 1998, p.746, pl.A.
J.Nicolay, L'art et la manière des maîtres ébénistes français au XVIIIème siècle, 1976, p. 414, illustrates a similar commode by Rubestück in lacquer.
Le Comte de Salverte, Les Ebénistes du XVIIIème siècle, leurs oeuvres et leurs marques, Paris, 1962.

This commode of fluid serpentine bombé form with its elaborate foliate gilt-bronze mounts framing the delicate pen-engraved floral marquetry is a departure for Rubestück. His floral marquetry commodes are usually on a smaller scale and less elaborately mounted. This commode is a very strong model and its impressive size together with the exquisite gilt-bronze-mounts meant  that it would have been an expensive conmmission at the time it was made, so it is not surprising that it bears the stamp of the duc de Penthièvre and would have been in his Châteauneuf-sur-Loire at some point.  

Although no other comparable commode by Rubestück has been recorded to date, it is worthwhile considering two commodes one attributed to and one stamped by Joseph Schmitz, another Parisian maître ébéniste of German origin, in the Huntington Collection, see Bennett et. al., op. cit., pp 81-82 (acc.no. 27.118 and 27.124). They  are conceived in a similar vein to the offered commode and have a central gilt-bronze cartouche inlaid with ribbon-tied floral bouquets flanked on either side by a wicker basket of flowers. The mounts are very elaborate and the knee mounts and chutes are almost identical to those upon this commode. The mounts on the Huntington commodes and the offered commode fit their underlying marquetry frames exactly perhaps indicating that they were specifically intended for the pieces. The commodes are also very wide as the offered commode. An interesting feature of the Huntingdon commode  (27.124) is a paper label inside the top drawer from Duveen (the celebrated furniture dealer)-`with caffiéri mounts'.  Although one cannot say for certain that the mounts are by Caffiéri, the celebrated Parisian bronzier, they are certainly of comparable quality to his work.
A far less imposing commode inlaid with a basket of flowers on the front and with identical chutes, was sold  from the Rothschild and Bergsten collections, Christie's, London, lot 63, 23rd June 1999.

Châteauneuf sur Loire:
The Castle of the Châteauneuf-sur-Loire was the economic hub of the region and in the 17^th century the castle was completely rebuilt to become the `little Versailles' of the region. The Duc de Penthièvre was, at the end of the 18th century, one of the wealthiest landowners in the kingdom, owning the Châteaux de Sceaux, Chanteloup, Bizy, Anet and Châteauneuf the furniture of which is known to us by a particular mark for each of the residences. Every mark consists of a marine anchor motif symbolising the charge de Grand Amiral, flanked by letters designating each different château. This marque au fer on the commode of C with a 9 within an anchor depicts Châteauneuf. 

In 1775, Penthièvre inherited some assets from the Comte d'Eu; thus reuniting the fortunes of his father, the Comte de Toulouse and his uncle, the Duc du Maine, both illegitimate sons of Louis XIV. As such the Duc de Penthièvre acquired the Principauté d' Anet and at the same time various houses and châteaux.     

The contents of the château were seized during the Revolution, sent to Tours, then Paris to be sold without reserve as was the case of a commode now in the Musée du Louvre, Paris.    

François Rubestück:

François Rubestück received Master in 1766 was born in Westphalia and moved to Paris where he established his workshop in the rue de la Roquette before moving to the rue de Charenton. He worked in a variety of styles encompassing the rococo to the neo-classicism and was a prolific producer of good quality furniture. The most characteristic pieces by him are in vernis martin and lacquer with a chinoiserie theme.