401
Ovaler Arbeitstisch von David Roentgen
1/5
Beschreibung
Ovaler Arbeitstisch von David Roentgen
Riegel- und Vogelaugenahorn auf Nuss, Satinholz, Rosenholz und Mahagoni massiv, braunes Leder ersetzt, Messingprofile, feuervergoldete Bronze. Multifunktionstisch mit vier abschraubbaren verjüngten Vierkantbeinen auf Rollen. In der Front ein durch Druck öffnender, breiter Schub mit Schreibplatte, darunter zwei Innenschübe und ein Federmechanismus zum Öffnen der seitlichen Segmentfächer. Diese ausgestattet mit einem Fach über zwei Schüben. Altverfüllte Risse in der Platte, Federmechanismus reparaturbedürftig. H 72,5, B 73, T 51 cm.
Neuwied, 1780 - 1790.
Der Typus des kleinen ovalen Tisches taucht bei David Roentgen ab ca. 1770 auf. Eines der ersten bekannten Exemplare ist ein als Kriegsverlust gekennzeichneter Tisch, für Friedrich II. gefertigt, ehemals im Neuen Palais, Potsdam, mit einer grazilen Gestaltung, konkav eingezogener Zarge und s-förmigen Beinen, die durch einen Kreuzsteg miteinander verbunden sind.
Das hier vorgestellte Möbel existiert in verschiedenen Ausführungen, je nach Auftrag mehr oder weniger aufwändig produziert. Die Zargen und die Deckplatten sind meist mit reichen Intarsien, Blumen oder den bekannten Chinoiserien verziert, noch ohne Bronzen- oder Messingauflagen.
Ab 1775 findet sukzessive ein Geschmackswandel statt. Zunächst werden die Formen gerade, die Zargen höher. Beispiele dafür finden sich heute im Rijksmuseum Amsterdam, im Victoria & Albert Museum London oder in der Sammlung The Metropolitan Museum New York. In der Folgezeit verschwinden die Intarsien und Marketerien vollständig. Die Betonung liegt auf der Maserung und der Farbe des Holzes. Gegliedert werden die Möbel nun durch Profile aus vergoldeter Bronze oder Messing, die Länge der Beine wird durch aufgelegte vergoldete milleraies betont. Genau in diese Phase lässt sich der hier angebotene Tisch datieren.
Provenienz
Privatsammlung Bretagne, Frankreich.
Daxer & Marschall, München.
Privatsammlung Nordrhein-Westfalen.
Literatur
Abgebildet in: Präzision und Hingabe, Möbelkunst Roentgen, Berlin 2007, S. 170.
Vgl. Greber, Abraham und David Roentgen, Möbel für Europa, Band 1, Starnberg 1980, S. 139ff und S. 230ff.
Vgl. Greber, Abraham und David Roentgen, Möbel für Europa, Band 2, Starnberg 1980, Abb. 613ff.
Vgl. Fabian, Roentgen Möbel aus Neuwied, Bad Neustadt 1986, Abb. 80ff.
Vgl. Fabian, Abraham und David Roentgen. Das noch aufgefundene Gesamtwerk ihrer Möbel- und Uhrenkunst in Verbindung mit der Uhrmacherfamilie Kinzing in Neuwied. Leben und Werk, Verzeichnis der Werke, Quellen, Bad Neustadt 1996, Nr. 84.
Vgl. Koeppe u.a., Extravagant Inventions: The Princely Furniture of the Roentgens, New York 2012, Kat. Nr. 20-22 und 48.
Dieses Objekt wurde unter Verwendung von Materialien hergestellt, für die beim Export in Ländern außerhalb der EU eine Genehmigung nach CITES erforderlich ist. Wir machen darauf aufmerksam, dass eine Genehmigung im Regelfall nicht erteilt wird.
An oval work table by David Roentgen
Banded and bird's eye maple on solid walnut, satinwood, rosewood, and mahogany corpus. Brown leather writing surface (replaced), ormolu mountings. Multi-functional table with four removable square-sectioned supports terminating in casters. The front with a wide push-to-open drawer containing a writing surface concealing two interior drawers and a spring mechanism to open the two side segments. The side segments each fitted with a compartment and two drawers. Old, filled shrinkage cracks to the tabletop, the spring mechanism in need of repair. H 72.5, W 73, D 51 cm.
Neuwied, 1780 - 1790.
This type of small oval table appears in David Roentgen's oeuvre in around 1770. One of the first known examples was a table made for Friedrich II which was formerly housed in the Neues Palais in Potsdam but is since listed as being lost in the war. The piece was of an elegant design with a waisted apron and s-shaped supports connected by a cruciform stretcher.
We know of several versions of the present design, which were produced in a greater or lesser degree of opulence according to the commission. Their aprons and tops tend to be decorated with rich inlaid designs of flowers or well-known chinoiserie motifs. None of the pieces yet featured appliqués of bronze or brass, but a gradual change in taste could be observed beginning in the year 1775. Forms became straighter, and aprons higher. Examples of such works can be found in the Rijksmuseum in Amsterdam, the Victoria & Albert Museum in London, and in the collection of the Metropolitan Museum in New York. Following these years, marquetries and inlays began to disappear, and more focus was placed upon the grain and pattern of the wood itself. Furniture designs were divided using gilt bronze or brass mouldings, and the length of the legs was accentuated by gilded milleraies fillings. The present work can be dated to exactly this phase.
Provenance
Private collection, Bretagne, France.
Daxer & Marschall, Munich.
Private collection, North Rhine-Westphalia.
Literature
Illustrated in Präzision und Hingabe, Möbelkunst Roentgen, Berlin 2007, p. 170.
Cf. Greber, Abraham und David Roentgen, Möbel für Europa, vol. 1, Starnberg 1980, p. 139ff and p. 230ff.
Cf. Greber, Abraham und David Roentgen, Möbel für Europa, vol. 2, Starnberg 1980, illus. 613ff.
Cf. Fabian, Roentgen Möbel aus Neuwied, Bad Neustadt 1986, illus. 80ff.
Cf. Fabian, Abraham und David Roentgen. Das noch aufgefundene Gesamtwerk ihrer Möbel- und Uhrenkunst in Verbindung mit der Uhrmacherfamilie Kinzing in Neuwied. Leben und Werk, Verzeichnis der Werke, Quellen, Bad Neustadt 1996, no. 84.
Cf. Koeppe, Extravagant Inventions, New York 2013, cat. no. 20-22 and 48.
This lot contains materials which require a CITES licence for export outside of the EU contract countries. We would like to inform you that such licenses are usually not granted.
Auktionsdetails
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AGB & Wichtige Informationen
Stellen Sie dem Verkäufer eine Frage
Ovaler Arbeitstisch von David Roentgen
Riegel- und Vogelaugenahorn auf Nuss, Satinholz, Rosenholz und Mahagoni massiv, braunes Leder ersetzt, Messingprofile, feuervergoldete Bronze. Multifunktionstisch mit vier abschraubbaren verjüngten Vierkantbeinen auf Rollen. In der Front ein durch Druck öffnender, breiter Schub mit Schreibplatte, darunter zwei Innenschübe und ein Federmechanismus zum Öffnen der seitlichen Segmentfächer. Diese ausgestattet mit einem Fach über zwei Schüben. Altverfüllte Risse in der Platte, Federmechanismus reparaturbedürftig. H 72,5, B 73, T 51 cm.
Neuwied, 1780 - 1790.
Der Typus des kleinen ovalen Tisches taucht bei David Roentgen ab ca. 1770 auf. Eines der ersten bekannten Exemplare ist ein als Kriegsverlust gekennzeichneter Tisch, für Friedrich II. gefertigt, ehemals im Neuen Palais, Potsdam, mit einer grazilen Gestaltung, konkav eingezogener Zarge und s-förmigen Beinen, die durch einen Kreuzsteg miteinander verbunden sind.
Das hier vorgestellte Möbel existiert in verschiedenen Ausführungen, je nach Auftrag mehr oder weniger aufwändig produziert. Die Zargen und die Deckplatten sind meist mit reichen Intarsien, Blumen oder den bekannten Chinoiserien verziert, noch ohne Bronzen- oder Messingauflagen.
Ab 1775 findet sukzessive ein Geschmackswandel statt. Zunächst werden die Formen gerade, die Zargen höher. Beispiele dafür finden sich heute im Rijksmuseum Amsterdam, im Victoria & Albert Museum London oder in der Sammlung The Metropolitan Museum New York. In der Folgezeit verschwinden die Intarsien und Marketerien vollständig. Die Betonung liegt auf der Maserung und der Farbe des Holzes. Gegliedert werden die Möbel nun durch Profile aus vergoldeter Bronze oder Messing, die Länge der Beine wird durch aufgelegte vergoldete milleraies betont. Genau in diese Phase lässt sich der hier angebotene Tisch datieren.
Provenienz
Privatsammlung Bretagne, Frankreich.
Daxer & Marschall, München.
Privatsammlung Nordrhein-Westfalen.
Literatur
Abgebildet in: Präzision und Hingabe, Möbelkunst Roentgen, Berlin 2007, S. 170.
Vgl. Greber, Abraham und David Roentgen, Möbel für Europa, Band 1, Starnberg 1980, S. 139ff und S. 230ff.
Vgl. Greber, Abraham und David Roentgen, Möbel für Europa, Band 2, Starnberg 1980, Abb. 613ff.
Vgl. Fabian, Roentgen Möbel aus Neuwied, Bad Neustadt 1986, Abb. 80ff.
Vgl. Fabian, Abraham und David Roentgen. Das noch aufgefundene Gesamtwerk ihrer Möbel- und Uhrenkunst in Verbindung mit der Uhrmacherfamilie Kinzing in Neuwied. Leben und Werk, Verzeichnis der Werke, Quellen, Bad Neustadt 1996, Nr. 84.
Vgl. Koeppe u.a., Extravagant Inventions: The Princely Furniture of the Roentgens, New York 2012, Kat. Nr. 20-22 und 48.
Dieses Objekt wurde unter Verwendung von Materialien hergestellt, für die beim Export in Ländern außerhalb der EU eine Genehmigung nach CITES erforderlich ist. Wir machen darauf aufmerksam, dass eine Genehmigung im Regelfall nicht erteilt wird.
An oval work table by David Roentgen
Banded and bird's eye maple on solid walnut, satinwood, rosewood, and mahogany corpus. Brown leather writing surface (replaced), ormolu mountings. Multi-functional table with four removable square-sectioned supports terminating in casters. The front with a wide push-to-open drawer containing a writing surface concealing two interior drawers and a spring mechanism to open the two side segments. The side segments each fitted with a compartment and two drawers. Old, filled shrinkage cracks to the tabletop, the spring mechanism in need of repair. H 72.5, W 73, D 51 cm.
Neuwied, 1780 - 1790.
This type of small oval table appears in David Roentgen's oeuvre in around 1770. One of the first known examples was a table made for Friedrich II which was formerly housed in the Neues Palais in Potsdam but is since listed as being lost in the war. The piece was of an elegant design with a waisted apron and s-shaped supports connected by a cruciform stretcher.
We know of several versions of the present design, which were produced in a greater or lesser degree of opulence according to the commission. Their aprons and tops tend to be decorated with rich inlaid designs of flowers or well-known chinoiserie motifs. None of the pieces yet featured appliqués of bronze or brass, but a gradual change in taste could be observed beginning in the year 1775. Forms became straighter, and aprons higher. Examples of such works can be found in the Rijksmuseum in Amsterdam, the Victoria & Albert Museum in London, and in the collection of the Metropolitan Museum in New York. Following these years, marquetries and inlays began to disappear, and more focus was placed upon the grain and pattern of the wood itself. Furniture designs were divided using gilt bronze or brass mouldings, and the length of the legs was accentuated by gilded milleraies fillings. The present work can be dated to exactly this phase.
Provenance
Private collection, Bretagne, France.
Daxer & Marschall, Munich.
Private collection, North Rhine-Westphalia.
Literature
Illustrated in Präzision und Hingabe, Möbelkunst Roentgen, Berlin 2007, p. 170.
Cf. Greber, Abraham und David Roentgen, Möbel für Europa, vol. 1, Starnberg 1980, p. 139ff and p. 230ff.
Cf. Greber, Abraham und David Roentgen, Möbel für Europa, vol. 2, Starnberg 1980, illus. 613ff.
Cf. Fabian, Roentgen Möbel aus Neuwied, Bad Neustadt 1986, illus. 80ff.
Cf. Fabian, Abraham und David Roentgen. Das noch aufgefundene Gesamtwerk ihrer Möbel- und Uhrenkunst in Verbindung mit der Uhrmacherfamilie Kinzing in Neuwied. Leben und Werk, Verzeichnis der Werke, Quellen, Bad Neustadt 1996, no. 84.
Cf. Koeppe, Extravagant Inventions, New York 2013, cat. no. 20-22 and 48.
This lot contains materials which require a CITES licence for export outside of the EU contract countries. We would like to inform you that such licenses are usually not granted.
Modernes Kunstgewerbe / Sammlung Dreßen / Kunstgewerbe / Abraham & David Roentgen
Auktionsdatum
Lose: 300 - 365
Lose: 600 - 795
Lose: 800 - 1231
Lose: 400 - 415
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany
Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.
Wichtige Informationen
Zu Aufgeld und Mehrwertsteuer prüfen Sie bitte das jeweilige Los.
For buyer’s premium and VAT please check particular lot.
AGB
standard | standard
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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers
