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拍品专文
Jean-Pierre Latz, ébéniste privilegié du Roi before 1741.
The extraordinary marquetry ‘picture in wood’ to the façade of this precious commode, displays abstract rocaille motifs forming expanding cartouches framed by seed-pods. This type of abstract and imaginative marquetry was presumably only executed by two ébénistes, Jean-Pierre Latz and Jean Desforges. The latter’s stamp ‘DF’ appears on a commode with very similar marquetry in the J.P. Getty Museum (illustrated in G. Wilson and C. Hess, Summary Catalogue of the European Decorative Arts, Los Angeles, 2001, p. 14, fig 25). The present commode, however, is more closely related to the oeuvre of Latz, and based on comparison of various mounts apparently exclusively employed by him, can firmly be attributed to this ébéniste. In fact, being ébéniste priviligié du Roi, he could contravene guild regulations and cast his own mounts, thus enabling many unstamped pieces to be attributed to him based on the mounts.
Virtually identical ormolu angle mounts (chutes) to those on this commode are found on a commode in the Quirinale Palace, Rome, made between 1745 and 1749, and amongst the French furniture brought from Versailles to Parma in 1753 to decorate the petit appartement of Madame Infante, eldest daughter of Louis XV, and wife to Don Philip (Henry Hawley, ‘Jean-Pierre Latz, Cabinet-Maker’, The Bulletin of The Cleveland Museum of Art, September/October 1970, no. 21). The Quirinale commode bears the stamp of Jean-Pierre Latz and It is described as ‘the keystone for the attribution of a large number of pieces, chiefly commodes and desks, to Latz’ (ibid., p. 232). The Quirinale collection also comprises a marquetry commode, with the same provenance, of identical construction and with the same distinctive mounts of the commode stamped ‘Latz’ (ibid. no. 28). Further works either by or attributed to Latz with closely related chutes include: a bureau plat from the collection of the Dukes of Bedford at Woburn Abbey, Bedfordshire (ibid., no. 29); a bureau plat formerly in the possession of Messrs. Ball, purchased in 1927 from the Vitzthum von Eckstädt family (ibid., no. 31); a bureau plat formerly in the Dutasta Collection, Paris (ibid. no. 33) and two commodes in the Staatliche Kunstsammlungen, Dresden, exhibited at Schloss Pillnitz near Dresden (ibid., nos. 37 and 38).
The extraordinary marquetry ‘picture in wood’ to the façade of this precious commode, displays abstract rocaille motifs forming expanding cartouches framed by seed-pods. This type of abstract and imaginative marquetry was presumably only executed by two ébénistes, Jean-Pierre Latz and Jean Desforges. The latter’s stamp ‘DF’ appears on a commode with very similar marquetry in the J.P. Getty Museum (illustrated in G. Wilson and C. Hess, Summary Catalogue of the European Decorative Arts, Los Angeles, 2001, p. 14, fig 25). The present commode, however, is more closely related to the oeuvre of Latz, and based on comparison of various mounts apparently exclusively employed by him, can firmly be attributed to this ébéniste. In fact, being ébéniste priviligié du Roi, he could contravene guild regulations and cast his own mounts, thus enabling many unstamped pieces to be attributed to him based on the mounts.
Virtually identical ormolu angle mounts (chutes) to those on this commode are found on a commode in the Quirinale Palace, Rome, made between 1745 and 1749, and amongst the French furniture brought from Versailles to Parma in 1753 to decorate the petit appartement of Madame Infante, eldest daughter of Louis XV, and wife to Don Philip (Henry Hawley, ‘Jean-Pierre Latz, Cabinet-Maker’, The Bulletin of The Cleveland Museum of Art, September/October 1970, no. 21). The Quirinale commode bears the stamp of Jean-Pierre Latz and It is described as ‘the keystone for the attribution of a large number of pieces, chiefly commodes and desks, to Latz’ (ibid., p. 232). The Quirinale collection also comprises a marquetry commode, with the same provenance, of identical construction and with the same distinctive mounts of the commode stamped ‘Latz’ (ibid. no. 28). Further works either by or attributed to Latz with closely related chutes include: a bureau plat from the collection of the Dukes of Bedford at Woburn Abbey, Bedfordshire (ibid., no. 29); a bureau plat formerly in the possession of Messrs. Ball, purchased in 1927 from the Vitzthum von Eckstädt family (ibid., no. 31); a bureau plat formerly in the Dutasta Collection, Paris (ibid. no. 33) and two commodes in the Staatliche Kunstsammlungen, Dresden, exhibited at Schloss Pillnitz near Dresden (ibid., nos. 37 and 38).