拍品专文
Abraham Roentgen (d. 1793) was initially established in Herrenhaag following an apprenticeship between 1731-1738 in Amsterdam, Den Haag, Rotterdam and London. Following the dispute with Count Zinzendorf (d. 1760) in 1750, the family relocated to Neuwied am Rhein. Their workshop quickly rose to wide acclaim and supplied furniture to the local nobility. In the late 1760s, however, after the Seven Years War, Abraham ran into debt. David (d. 1807), known to have been in his father's workshop by 1766, fully took charge of the atelier in 1769, when he organised a lottery in Hamburg to save the firm. It was under his leadership that the marquetry skills of the workshop were fully developed. Their neo-classical style first appeared circa 1762 on a bureau-cabinet delivered to Russia (D. Fabian, Abraham und David Roentgen, Bad Neustadt, 1996, p. 96, fig. 206), although the Rococo shapes were only fully banished in the late 1770s.
This table is of virtually identical design to that of circa 1775-80 in the M. Bensimon Collection, Paris (D. Fabian, op. cit., p. 82, fig. 163). However, the same trompe l'oeil pastoral trophy of a ribbon-tied rose-briar nd rose-centred posie suspende through fretted medallions in its ribboned frame features on serpentine-framed work-tables of the early 1770's, one in the Neues Schloss, Baden Baden nd the other in a private collection (J.M. Greber, Abraham and David Roentgen, Starnberg, 1980, figs.329 and 328).
A table of identical shape but with a marquetry panel to the top depicting a draped room centred by a table with a crown, formerly in the collection of George Blumenthal, was sold by Baroness Von Wrangel, Sotheby's London, 19 May 1972, lot 72, while a games-table of Rococo shape with similar marquetry to the top and closely related sprigs of flowers to the apron was sold anonymously in these Rooms, 10 December 1981, lot 181.
This table is of virtually identical design to that of circa 1775-80 in the M. Bensimon Collection, Paris (D. Fabian, op. cit., p. 82, fig. 163). However, the same trompe l'oeil pastoral trophy of a ribbon-tied rose-briar nd rose-centred posie suspende through fretted medallions in its ribboned frame features on serpentine-framed work-tables of the early 1770's, one in the Neues Schloss, Baden Baden nd the other in a private collection (J.M. Greber, Abraham and David Roentgen, Starnberg, 1980, figs.329 and 328).
A table of identical shape but with a marquetry panel to the top depicting a draped room centred by a table with a crown, formerly in the collection of George Blumenthal, was sold by Baroness Von Wrangel, Sotheby's London, 19 May 1972, lot 72, while a games-table of Rococo shape with similar marquetry to the top and closely related sprigs of flowers to the apron was sold anonymously in these Rooms, 10 December 1981, lot 181.