.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
Jean-Pierre Latz (1691-1754), ébéniste privilégié du Roi by 1741
Pierre Othon, maître in 1760
Although not stamped by him, this spectacular commode, with its richly sculptural and dynamically fluid ormolu mounts combined with elaborate bois de bout marquetry can be confidently attributed to Jean-Pierre Latz, one of the foremost ébénistes of the Louis XV period. The presence of Pierre Othon’s stamp is surprising, as his recorded oeuvre exclusively comprises seat furniture- for this particular commission he possibly acted as a retailer or intermediary for Latz who never formerly received his maîtrise for the Parisian guild.
THE ATTRIBUTION
The attribution is based on its close similarity to a celebrated series of commodes by Latz, some of the richest examples produced by his workshop, with closely related models of mounts and overall design, a number of which have Royal provenance. These comprise:
Two commodes (one in floral marquetry and the other in bois satiné) that are now conserved in the Palazzo Quirinale, Rome and which were among the furniture brought to Italy from Versailles by Louise Elizabeth, youngest daughter of Louis XV and known as Madame Infante, when she married the duke of Parma (see H.H. Hawley, 'Jean-Pierre Latz, Cabinetmaker', Bulletin of the Cleveland Museum of Art, Cleveland, September-October 1970, pl. 22, p. 232 and pl. 28 p. 237).
A stamped commode veneered in bois satiné in the J. Paul Getty Museum, Los Angeles (see G. Wilson, Summary Catalogue of European Decorative Arts in the J. Paul Getty Museum, Los Angeles, 2001,no. 27, p. 15).
A floral marquetry commode, attributed to Jean-Pierre Latz and Jean-François Oeben, supplied for the Chambre de la Dauphine at the Château de Choisy-le-Roi circa 1757 and subsequently in the collection of the French Rothschild family was sold from the Collection of Djahanguir Riahi, Christie's, New York, 2 November 2000, lot 20 ($4,626,000).
All of the above commodes feature a similar, high-hipped bombé form and closely related mounts, particularly the distinctive outer framing mounts of the front and sides with pierced scrolls to the upper spandrels, the remarkable C-scroll cartouche frame to the fronts and the majestic rocaille-cast chutes.
JEAN-PIERRE LATZ
The German-born Latz arrived in Paris in 1719 and occupied quarters on the the rue du Faubourg St. Antoine. Latz never received his maîtrise, but his appointment as ébéniste privilégié du Roi is recorded for the first time in 1741. H.H. Hawley op. cit., p. 207, discusses Latz's style, and emphasizes the three-dimensional vitality of his furniture in combination with extremely realistic floral marquetry and inventively sculptural bronze mounts, most of which were made by Latz himself. In 18th Century France it was completely prohibited to exercise this double activity of bronzier and ébéniste; the guilds were highly regulated and kept strict watch over their respective spheres. This practice of casting his own mounts, in direct contravention of guild laws, allowed him to perfect his unique models and adapt them to specific pieces of furniture and retain their exclusive use. A raid on his workshop in 1749 by the bronziers revealed the presence of 2,288 models of ormolu mounts. However, subsequent to this raid, Latz no longer had exclusive use of some of his molds as the bronze-casters' guild had seized them and the mounts cast from them, and sold them in accordance with guild regulations.
Latz's notable patrons included the sovereigns Frederick II, King of Prussia, and August III, King of Poland and Elector of Saxony, and the duc de Penthièvre. A number of pieces were also commissioned by Louise Elizabeth, Louis XV's eldest daughter, between 1748-1753. Madame Infante married the Duke of Parma, and while most of these pieces were originally supplied for the palaces of Colorno and Parma, as mentioned above many are now in the Palazzo Quirinale in Rome (see A. Pradère, French Furniture Makers, Malibu, 1989, pp. 153-162 and A. González-Palacios, Il Patrimonio Artistico del Quirinale: Gli Arredi Francesi, Milan, 1995, pp. 108-114, cat. 1-2).
Pierre Othon, maître in 1760
Although not stamped by him, this spectacular commode, with its richly sculptural and dynamically fluid ormolu mounts combined with elaborate bois de bout marquetry can be confidently attributed to Jean-Pierre Latz, one of the foremost ébénistes of the Louis XV period. The presence of Pierre Othon’s stamp is surprising, as his recorded oeuvre exclusively comprises seat furniture- for this particular commission he possibly acted as a retailer or intermediary for Latz who never formerly received his maîtrise for the Parisian guild.
THE ATTRIBUTION
The attribution is based on its close similarity to a celebrated series of commodes by Latz, some of the richest examples produced by his workshop, with closely related models of mounts and overall design, a number of which have Royal provenance. These comprise:
Two commodes (one in floral marquetry and the other in bois satiné) that are now conserved in the Palazzo Quirinale, Rome and which were among the furniture brought to Italy from Versailles by Louise Elizabeth, youngest daughter of Louis XV and known as Madame Infante, when she married the duke of Parma (see H.H. Hawley, 'Jean-Pierre Latz, Cabinetmaker', Bulletin of the Cleveland Museum of Art, Cleveland, September-October 1970, pl. 22, p. 232 and pl. 28 p. 237).
A stamped commode veneered in bois satiné in the J. Paul Getty Museum, Los Angeles (see G. Wilson, Summary Catalogue of European Decorative Arts in the J. Paul Getty Museum, Los Angeles, 2001,no. 27, p. 15).
A floral marquetry commode, attributed to Jean-Pierre Latz and Jean-François Oeben, supplied for the Chambre de la Dauphine at the Château de Choisy-le-Roi circa 1757 and subsequently in the collection of the French Rothschild family was sold from the Collection of Djahanguir Riahi, Christie's, New York, 2 November 2000, lot 20 ($4,626,000).
All of the above commodes feature a similar, high-hipped bombé form and closely related mounts, particularly the distinctive outer framing mounts of the front and sides with pierced scrolls to the upper spandrels, the remarkable C-scroll cartouche frame to the fronts and the majestic rocaille-cast chutes.
JEAN-PIERRE LATZ
The German-born Latz arrived in Paris in 1719 and occupied quarters on the the rue du Faubourg St. Antoine. Latz never received his maîtrise, but his appointment as ébéniste privilégié du Roi is recorded for the first time in 1741. H.H. Hawley op. cit., p. 207, discusses Latz's style, and emphasizes the three-dimensional vitality of his furniture in combination with extremely realistic floral marquetry and inventively sculptural bronze mounts, most of which were made by Latz himself. In 18th Century France it was completely prohibited to exercise this double activity of bronzier and ébéniste; the guilds were highly regulated and kept strict watch over their respective spheres. This practice of casting his own mounts, in direct contravention of guild laws, allowed him to perfect his unique models and adapt them to specific pieces of furniture and retain their exclusive use. A raid on his workshop in 1749 by the bronziers revealed the presence of 2,288 models of ormolu mounts. However, subsequent to this raid, Latz no longer had exclusive use of some of his molds as the bronze-casters' guild had seized them and the mounts cast from them, and sold them in accordance with guild regulations.
Latz's notable patrons included the sovereigns Frederick II, King of Prussia, and August III, King of Poland and Elector of Saxony, and the duc de Penthièvre. A number of pieces were also commissioned by Louise Elizabeth, Louis XV's eldest daughter, between 1748-1753. Madame Infante married the Duke of Parma, and while most of these pieces were originally supplied for the palaces of Colorno and Parma, as mentioned above many are now in the Palazzo Quirinale in Rome (see A. Pradère, French Furniture Makers, Malibu, 1989, pp. 153-162 and A. González-Palacios, Il Patrimonio Artistico del Quirinale: Gli Arredi Francesi, Milan, 1995, pp. 108-114, cat. 1-2).